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HARVARD COLLEGE
LIBRARY

THE BEQUEST OF
EVERT JANSEN WENDELL

(CLASS OF 1882)
OF NEW YORK

1918

MUSIC LIBRARY

"__ V

W^ r. . ^'^C^, 2, .X i

HIUUH Bia^t^ti, Pkivna

The Yonmj Wmnrnt?*-

Christian Association.

BROOKLYN, - N V

A^.-

THt B: T 'V

LONDON:

FtirnvD n WILLIAM CLOWXS

DttiM StTMt, LuDbcth.

CONTENTS.

I. MUSIC AND COMPOSERS OP

- 4

Part VI. -

Page
- 61

II. -

— vn, -

III. .

- 25

— vm. -

- 85

IV..

IX. -

V. -

■

• 49

X. -

•

- 109

II. BIOGRAPHICAL NOTICES.

Arne, Thomas Augustine, Mus. D. • -

Asioli, Bonifazio - • . •

Baildon, Joseph - . . . -

Beethoven, Ludwlg Van • - -

Blow, John, Mus. D. - - - -

Callcott, John Wall, Mus. D.

Cherubini, Maria Luigi Carlo Zenobi Salvador

Clementi, Muzio ....

Cooke,*Benjamin, Mus.'D. ...

Corelli, Arcangelo - - - -

Cramer, John Baptist"^ - - . .

Dowland, John ....

Dussek, Johann Ludwig ....

Gastoldi, Giovanni G., ...

Gibbons, Orlando, Mus. D. - . -

Giomovichi, Giovanni M. - - .

Gluck, Christoph - - . . .

Harrington, Henry, Mus. D. - -

Hayden, George • - • . .

Haydn, Joseph - - . .

Himmel, Friedrich Heinrich ...

Hummel, Johann N. .

Jackson, William --*...
Jomelli, Nicolo ....

Kalkbrenner, Frederic . - . .

Linley, Thomas «...

JLinwood, Mary ....

Xiock, Matthew ....

Xiowe, Carl ------

Mehul, Etienne Henri ...

Mendelssohn, Felix - • - . •

Af omington. Garret, first Earl of -
Mozart, Wolfgang Amadeus ...

Kares, James, Mus. D. - - .

KeOkomm, Sigismund ....

Ondow, George, Esq, ...

P^ieDo, Giovanni ....

Palestrina, Giovanni Pier Lui^ da -

Paradies, Domenioo - - . .

Paxton, Stephen ....

Pleyel, Ignace • - . • .

Righini, Yinoenzo . • . .

Rossini, Gioacehino • . . .

98
39
111
13
74

6
62
85
26
14
38

5
13
110
75
63
110
62
87
27
86
26
25
39

4
50
61
50
15
14

5
39

4
74
25
85
63
15
IS
15
1Q9

5
61

Spoffbrth, Reginald
Storace, Stephen
Webbe, Samuel
Weber, Carl Maria Von
Woty, William

49
37
62

III. MISCELLANEOUS ESSAYS, NOTICES, &c.

Address - - ... 1
Amateur Musical Festival, Exeter Hall - - - 99
Beethoven's Will .... 42
Birmingham Musical Festival - - - 88
Concert in Aid of the Royal Dispensary for Diseases of the Ear 100
Foreign Musical Festivals ... - 102
French Musical Gazette .... 40
Gwent and Dyfed Royal Eisteddfod, and Musical Festival - 79
Haydn's Masses - - - - 1 14
Hereford Musical Festival - - - - 78
Hull Musical Festival .... 78
Musical Festivals. — ^A brief History of British Musical Festi-
vals for Charitable Purposes, to the Year 1783 - 28
Musical Festivals in Westminster Abbey - - 15
Musical Festival at Aix-la-Chapelle - - 17, 101
Musical Reminicenses, by Earl Mount Edgcumbe - 111
Music in Vienna. — Some Account of the Society of the Friends
of Music in Vienna, and of the Conservatoire connected

with it -

On the various Processes applied to Printing Music
Popular Songs of the Inhabitants of the Feroe Islands
Royal Musical Festival in Westminster Abbey
Society of British Musicians - . •

The Commemoration of Handel in 1784
The National Air, * God save the King '
York, Birmingham, Norwich, and other Festivals

- 30

- 64

40,51

100, 113

63,75

IV. REVIEW OF NEW MUSIC.
10, 20, 33, 45, 65, 79, 103, 114.

EXTRACTS from the JOURNAL of a MUSICAL AMA-
TEUR, 21, 84, 46, 71, 81, 104.

VI. CORRESPONDENCE.

Beethoven's Pianoforte Sonatas

Birmingham Festival ...

English Words to the * Creation '

The Royal Musical Festival

Westminster Festival

102

81,95

a 2

CONTENTS.

Vn. CONCERTS.

Ancient

Benefit Concerts of the Season

Madrigal Society

Paganini's -

Philharmonic

Society of British Musicians

8, 19, 31, 42

19,44

9, 18, 32, 43

100, 113

Vin. THE DRAMA,

Covent Garden Theatre
Drury Lane Theatre
English Opera House
German Opera
King's Theatre

12, 24
12, 108

70, 84, 107

12, 24, 86, 48, 70

IX. FOREIGN MUSICAL REPORT.

Page

Aix-la-Chapelle - - 83

Bologna

Amsterdam - - 70

Bremen

Basle - - - 48

Brussels

Bergamo - - 36

Cadiz

Berlin - 12,22,35,47,69,82,

Danzic

95,106,116

Dresden

Bemhunr - 69

Elberfeld

Pago

- 96
35

- 70
107
116

12, 23, 47, 69

Florence

Frankfort

Genoa

Gratz

Halle

Hamburg

Hanover <

Heidelberg

Jena

Konigsberg

Leipzig

Lisbon

Lucca '

Magdeburg

Marseilles

Milan

Modena

Morges

Munich •

Naples

Numberg

Padua

Palermo

- 96
23, 47, 107

- 96

. 23,69

. 95

- 69

116

12, 22, 35, 47, 69, 107

107

. 96

- • - 107

23, 36, 70, 107

- 70
S3, 35, 69, 82, 107

- 70, 96, 107
47

- 96
96

Paris

Parma

Potsdam -

Prague -

Rome

St. Petersburgh

Stettin

Stockholm

Strasburg

Stuttgard

Tilsit -

Trieste

Turin

Valencia

Viareggio

Venice

Vienna

12,

Warsaw
Weimar
Zeitz
Zurich

ft**

23, 36, 70, 95

• 83

- 12, 69, 116.

70,96,107

23,70

83,116

12, 23, 83

- 96

107

116

23, 96

22, 35, 47, 69,

82, 95, 106

116

. 83

X. NECROLOGY.

Boieldien, Adrien Francis
Choron, Alexandre E. -
Spagnoletti, Pietro

105
115
106

MUSICAL I4IBRARY.

No. I. APRIL, 1834. Price Sixpence.

Addren • • • • ^ • 1

On the Various Processes applied to Printing

Music ....... I

The Music and Composers of ' Part I.* • 4

CONTENTS.

The Commemoration of Handel, in 1784

The Ancient Concerts

The Philharmonic Concerts • • •

8
• 9

Review of Music # •
Foreign Musical Keport
The Theatres

ADDRESS.

The principle which has been so extensively applied in literature
and tne graphic art, of producing works at the lowest possible
point of cheapness^ without any abandonment of the qualities by
which the popular knowledge and taste may be advanced, has
vet a wide field for its employment in the department of Music.
TTiis most delightful of the arts was never so generally cultivated
in this country as at the present moment. The pianoforte^
especially, contributes to the recreation and enjoyment of thou-
sands of families throughout the United Kingdom, and in our
colonial possessions, and yet the publications by which this
taste ought to be kept up and improved are sold at a price
which, in many cases, amounts to a prohibition.

The design of the * Musical Library * is to afford the same
advantage to amateurs in music that the lovers of literature are
deriving from the cheap publications for the advancement of real
knowledge that are now distributed through every part of the
Empire, and placed within the reach of persons of every con-
dition. It is proposed to publish a Collection of Music, both
vocal and instrumental, by the best masters, ancient and modem :
the ancient in a state adapted to the improved condition of our
musical instruments, and the modem the best, and only the
best, that the continent of Europe and our own country can
supply. We shall revive and put into an inviting form the com-
positions of the older classical masters, now only known to a few
connoisseurs, keeping in mind the saying of a famous French
modiste, — '' Nothing is so new as that which is forgotten." At
the same time it will be our further object to naturalize the con-
fessedly good productions of the newest foreign composers, espe-
cially of the German masters, by reprinting, sometimes with
English words, their best vocal compositions ; and also by pub-
lishing movements, or extracts complete in themselves, from such
of their instrumental works as are too long to admit in an entire
state into the ' Musical Library.' It is also our design, occasion-
ally, to engage composers of the first eminence to supply us with
new compositions ; and we shall never neglect an opportunity of
giving currency to such productions of real genius as may be
offered to us by those who have no means of securing extensive
circulation to them, and who may be deterred from publishing
them on their own account. We thus hope to spread widely
a taste for what is excellent in the various departments of the
art, and render the best cpmpositions available to the purposes
of private society. In the execution of our plan, we shall steadily
keep in view the great principle, — that excellence and cheapness
are not incompatible. " The bent of civilization is to make good
things cheap"

In the prosecution of these objects, which we may not unjustly
consider likely to advance our national enjoyments, we propose to
issue a number weekly, of eight music-folio pages. Each
number will be devoted either to Vocal or Instrumental Music,
so that these two classes of compositions may be separately
bound. It would involve great practical difficulties to attempt to
make every Number complete in itself; but as the intervals of
publication between each are very short, little inconvenience
will be experienced. Every Part, however, will be complete in
itself, except under very peculiar circumstances.

A Part, containing thirty-six pages of Music, will be pub-
lished Monthly, the price of which will be Eighteen -pence.

The ' Monthly Supplement,' a kind of musical gazette, now
before our readers, will, in a great measure, speak for itself. It
is intended to consist always of twelve pages of letter-press, and
comprise musical news, foreign and domestic, short biographical
sketches of musical composers whose works are published in the
' Musical Library,' with remarks on those works ; — a Review of
such new musical publications as deserve, or are likely to attract
notice ; critical reports of the principal concerts and festivals in
town and country ; also of operas, &c., performed at the princi-
pal theatres ; with occasional essays, correspondence, &c., — alto-
gether forming, at the end of every year, a volume containing an
ample account of everything of an important or interesting
nature relating to the art.

The 'Musical Library' and * Monthly Supplement* will be
published separately, and be sold either together or singly.

ON THE VARIOUS PROCESSES APPLIED TO PRINTING

MUSIC.

The rapid and cheap multiplication of copies of musical compo-
sitions is essential to the diffusion of a musical taste. For more
than three centuries the printers of Europe have been labouring
to secure the same advantages for music, that the typographical
art has secured for literature — that is, to combine moveable
types, representing musical characters, so as to present all the
complicated notation of the most elaboi*ate work, as perfectly as
if it were engraved upon a metal plate. Every one knows, that
if books were printed from engraved plates, instead of being
worked off from moveable types, to which the ink is applied on
the surface, books would be exceedingly dear, and could only
be produced in small numbers as gratifications of luxury. To a
certain extent the same principle applies to music ; and when-
ever, therefore, musical typography shall have been rendered as
complete as musical engraving, a great element of expense in the
printing of music will be at once got rid of, and the people will be
enabled to purchase musical compositions at a cost little exceed-
ing the price of other printed books. This point of perfection
has almost been reached in this country, as our own ' Musical
Library' will sufficiently show; but the art of musical typo-
graphy is still capable of some slight improvements, remarkable
as its excellence now is, when compared with the slow and
painful steps by which that excellence has been approached, from
the beginning of the sixteenth century even to our own day.

Before the year 1500 there were only two books printed, in
which, as far as has been ascertained, any musical notation
was introduced. It is well known that long before this all the
essential difficulties of the art of printing had been overcome ;
and that all the great requisites of legibility and comparative
cheapness, which were aimed at by the first inventors and
improvers, had been fully attained. One of these early books on
music, is a small tract printed at Bologna in 1487, entitled
Musices Opusculum, &c. The other is a very rare and extremely
valuable work, in the possession of the Editor of the ^ Musical
Library,' the Practica MusiccB of Franchius Gafforinus, a priest
of groat learning, born in 1451 ; which work is a small folio,

THE MUSICAL LIBRARY.

printed at Milan in 1496. Nothing can exceed the typo-
graphical excellence of this book ; but the scales, and other ex-
amples of music, which frequently /occujf in i^ jare printed, from
engraved wooden blocks. It is evident that the nun^ber of cha-
racters required ffcr ihusictLl notation (having referenced to the
necessity of combining the note with the staff-line) presented to
the early printers much more formidable difficulties than any
combinations of the alphabet. They gat over the difficulty^

when musical characters were required to be introduced into^a
printed book, by engraving them on wood. Up to the end of the
fifteenth centuj-y^ musical compositions, which were exclusively
required tor the service of the churcb, were multiplied in manu-
s6n]jt. Many curious works f)f the composers of that age
have no doubt perished; a few still remain, but they are of
extreme rarity. We subjoin a specimen of the block-music, in
the Practiea MusiscB of Gafforius : —

CANTVS

V^'i^iy^'^H- •

TENOR.

^ jJi'V'^'k,j .,U).jl

The same species of block-music occurs in our early printed
English books. In Higden's Polychronicon, printed by Wynken
de Worde, in 1495, are the following musical characters, which
Mr. Ames supposes to be the first printed in England ; they are
meant to represent the consonances of Pythaororas :—

ll^ . .

■^

r m

'mm

^ ■

m m

1 1 1

a S

In the Book of Common Prayer noted, composed by Warbeck,
organist of Windsor, and printed by Grafton in 1550, it is stated
that only the following four notes are used therein : —

^7\

ill_L W I ♦ Ig

These characters are thus explained in a memorandum by the
printer. '^ The first is a strcne note, and is a breve ; the second
is a square note, and is a semybreve ; the third is^ a pycke, and
is a mynymme ; the fourth is a close, and is only used at the end
of a verse."

In 1503, Octavo Pet rucci published, at Venice, the first ex-
ample of music printed from moveable characters. The work
in which his invention was employed is entitled Canfi Cento
Cinquanta, The great difficulty which Pet rucci had to en-
counter, was that of uniting the separate characters so accu-
rately as to give an appearance of continuity to the staff-lines,
formed out of many pieces. This difficulty he did not over-
come ; although the simplicity of the characters then employed
in music rendered the broken and ragged appearance of his
typographical essay less embarrassing to the performer than
subsequent attempts, upon the same principle, which became
more inconvenient as musical notation became more compli-
cated. In 1508, a printer named Montona, introduced typo-
graphical music-printing into the Roman States, and obtained a
privilege from Leo X. His performances, however, as well as
those of Petrucci;, were so unsatisfactory, that block-printing con-
tinued to be employed in musical works ; and so extensively was
this mode still applied, that Conrad Peutenger published at Augs-
burg, in 1520, a collection of Motets for five voices, executed

entirely from engravings on wood.

It is unnecessary for us to trace the progress of musical
typography very minutely, either on the continent or in our
own country. Ample details upon tliis subject will be found
in a curious work by Fournier, entitled fraite historique et
critique sur Vorigine et les progres ties caracteres de fonte pour
Vimpresfsion de la Musique. (Paris, 1765.) The following
fac simile of the characters employed in Morley's '' Plaine and
Easie Introduction to Practicall Musick," printed at London in
1597, will show how little progress the art of musical typography
had made during more than a century.

Tlie lozenge-form of the notes ado})ted by the old printers was
in accordance with the mode of writing music which had pre-
vailed from the 12th century. In the time of Charles II. the
rounded note became more generally used ; and in Germany
and England the improvement was introduced into musical
typography. The ' Whole Book of Psalms' of John Playford
was published in the new character. This improvement, how^-
ever, was unaccompanied with any change in the manner of
uniting the several pieces forming the staff-lines; and there
were no characters, or combinations of characters, which
could represent many of tlie niceties that were gradually
introduced into musical notation. These imperfections aut
length changed the general mode of musical printing; — en-
gravings, from metal plates, began to be adopted; and when
at lengtli tlie process of engraving was sufficiently cheapened,
the use of musical type-printing was confined to detached
passages introduced by way of illustration into printed books.

At the beginning of the eighteenth century, engraved music
began to be published in I'ln^and. The most considerable effort
of this nature was that of Dr. Croft's Mitsica Sacra, pubhshed
in 1724. llic plates of this work are of copper, engraved with
a tool. The inconveniences of the old mode of type-printing
may be collected from what is stated by Dr. Croft, in his Pre-
face to this work : — " It is not for want of excellent compositions
in church-music, that we have as yet seen so few instances of
their being made public in this way, (namely, in score,) but for
want of the art of regularly placing and ranging the notes — a
nicety which the old way of printing would not admit of- The
old music (especially that which consisted of divers parts, as
three parts or more) was printed in, and performed from.

THE MUSICAL LIBRARY.:

slbgle parts, ^Hotted to each performer by himself: in which
way of printing them, their performances were liable to great
uncertainty."

Tjfie expense of engraving music was, however, a great ob-
stiacle to the extensive use of this art ; and church miisic, as well
as other compositions, furnished employment to musical copyists
for two centuries after the general demand for the trade of the
transcriber had been abolished by the introduction of printing.
A considerable stride in the diffusion of musical works was
hbwever made, when the art of punching musical characters
ujpon pewfer plates was introduced. Instead of scraping out
tjie characters with a graver, they are in this way struck at a
single blow ; and the uniform appearance of the notes is secured
by the uniformity of the punches. This is the process by
Tiliich the greater part of the music of our own country, and of
Europe generally, is now produced. The punching is a rapid
and cheap process — even more rapid and cheaper than that of
arranging moveable characters. Attempts have been made to
supersede pewter plates by the Hthographic printing of music ;
but it does not appear to us that this mode has any essential
advantages over the other. The lithographic press is a more
uncertain instrument than the rolling press. In each process,
the manual labour of printing off the copies, involving con-
siderable nicety and attention, is a source of constantly

recurring expense. In printing ihusic from the surface of •
moveable types, or stereotype plates, either by the printing* »
press or printing-macliine, the operation is rapid and certain; — • .
the market may be supplied at once to the extent of the demand;
— and the consumer may receive the full benefit of mechanical
improvements, in the diminished cost of the article produced*
Such a work as the ' Musical Library' could only be under-
taken with the aid of musical typography.

It may be well for us very rapidly to notice the efforts by
which musical printinc^ from moveable types has been brought
to the degree of excellence which we are enabled to exhibit ia
our work; and which excellence will, no doubt, for all extensive
undertakings, again give musical typography, capable as it is
of fiirther improvements, a preference throughout Europe over
the mode of printing from engraved or punched plates.

In the year 1755, Breitkopf, a celebrated printer of Leipsic,
produced a specimen of new musical types, which, both in the
form of the notes and the niceties of the accessary symbols, as
well as their accurate adjustment with the lines, was greatly
superior to the musical typography which had preceded it. These '
types were eventually employed in many historical and elementary
works on music ; and they were even considered so satisfactory as
to be used in complete collections of the works of Haydn and
Mozart. Since the time of Breitkopf, however, the general ex-

SPECIMEN OF M. DUVERGEB'S PROCESSL

Temps de Marche.

CHANT

PIANO

HARPE

r.', II i. II I J J J^ ^

^hA

y> » -i 1 ^

•^^^/^i ^ ^ =

> s» [s

iS^r-j

WZZML

JJ~^ U:

M §

r r r

rpif ' ^-j/j'h' '' c'gi

t''M'i'i

*•)■».." ^

I ft 'I

< rt^ir ^^^1^

I I 'I rr 'I I

THE MUSICAL LIBRARY.

tension of musical knowl^ge has demanded a mnch more pre-
cise and complicated notation than was employed by the best
composers. Passages, in accompaniments especially, that were
merely indicated, now require to be fully exhibited; and the
improvement of our piano*fortes has given a much wider compass
to piano-forte music. It has, accordingly, been found difficult
for type-printing to keep pace with these chances. The most
important improvements upon the characters of Breitkopf were
made, about 1802, by Messrs. Olivier and Grodefroi, at Paris; but
the attempt was a ruinous one for them. Improvements, how-
ever, still continued to be attempted, especially in Germany. In
1820^ the growing demand for musical works induced Mr.
Clowes, the printer of our * Musical Library,' to obtain a set of
punches and matrices for casting musical type, from Germany.
The difficulties of completing this musical fount, in a style that
might be acceptable at a period when engraved music was so
much improved, were very great. But Mr. Clowes persevered in
his object. The ' Harmonicon' was printed for nearly eleven years
in this mode. During the past year many important improvements
of this type have been introduced in Mr. Qowes's foundery ; and
there can be no doubt that the musical typography which our
work now exhibits is the most complete and beautiful in Europe.

The ffreat improvement which Mr. Clowes has been able to
accomplish is, a more perfect union of the staff-lines. When it
is considered that whenever a note crosses a line, the continuity of
the line is broken, it must be evident that the very highest skill
is required to prevent the eye from being offended by the junction
of so many separate pieces. This is the excellence which the
type-founders have been vainly striving after for three centuries.

It is probable that if the present excellence of the typography
which is exhibited in the ^ Musical Library,* as well as in the
* Sacred Minstrelsy,' and ' Clarke's Handel,' also printed by
Mr. Clowes, had been considered attainable, the beautiful, but
expensive process of printing music from the raised surface of
popper characters inserted m a block would not have been
attempted. This is a very ingenious invention of Mr. Cowper,
founded upon the principle of printing the characters and the
staff-lines by separate impressions. The mode in which Mr.
Cowper has been enabled to insure perfect accuracy in making
the note fall exactly upon the line, although they are not origi-
nally combined, is most ingenious. The effect thus produced is
very beautiful ; but the process is not much cheaper than that of
working off music from punched plates.

The publisher of the ' Musical Library,' anxious that a work
for which he anticipated a very extensive circulation should not be
inferior in any point of excellence to the dearer publications which
did not anticipate any very extended diffusion of musical taste, has
purchased, at a considerable expense, the exclusive right of using
a secret process of music printing, invented by M. Duverger, of
Paris. There have been some practical difficulties in completing
this process in our English type-founderies ; and it appears to
be capable of some material improvements, with reference to its
advantageous employment commercially. Of the beauty of the
invention no doubt, however, can be entertained. It is possible
eventually that it may be found more calculated for application
to works not requiring to be prepared in haste, as a periodical
work in some respects must be ; and that, therefore, when per-
fected, it may be employed in the production of single works,
such as collections of spngs ^d glees. fVe have givpn, in tl^
preceding page, a specimen product by M. Duverger 's process.

THE MUSIC OF PART I.

Overture to La Clembkza di Tito.

Metastasio's drama. La Ctemenza di Tito, originally set
by Caldara in 1734, was ife-set by Mozart in 1 791, for the coro-
nation of Leopold II., in th6 short space, it is said, of eighteen
davs, a statement which will with difficulty obtain credit, unless
it be supposed — as is most probable — that the composer had
collected in his mind a rich store of materials before he trans-
ferred a single thought to paper. All Mozart's overtures are
highly appropriate. The grandeur and comparative simplicity
of this are emblematic of him whose character was summed up
in the words deliciiB humani generis. The dignity and benign fea-
ture of Titus may here be said to be typified in musical sounds.
We have adopted the German arrangement of this work;
firsts however, making such alterations and additions as the

and

score authorized, and as appeared likely to improve its effect
facilitate its performance.

WOLFGANG AMADEUS MOZART

was bom at Salzburg, on the 27th of January, 1756, where his
father held the office of second chapel-master to the Prince*
Archbishop. His talent developed itself when he was but six
years of age. At eight, he played a concerto on the harpsicord
at Munich, and the year after made a tour which included
France and England, and in both countries performed before
their respective sovereigns. In 1769 he visited Rome, where he
received the order of the Golden Spur from the Pope. H i
first great work was Idomeneo, composed for the Elector of
Bavaria in 1781. In 1782 he produced his Enlevement da
Serail; in 1786, Le Nozze di Figaro; in 1787, Don Giovanni;
in 1790, Coal fan tufti; and in 1791, Die Zauberfiote, also
La Clemenza di Tito, In this brief space of ten years, he likewise
composed his symphonies, quartets, quintets, piano-forte sona-
tas, masses, motets, &c. ; his last work having been his Requiem.
He died at Vienna on the 6th of December, 1792, leaving a
widow and one child, a son, who is still living. Mozart was
small in stature, but well made; his forehead was high and
capacious, and his features handsome. He spoke several lan-
guages, was of a lively, pleasure-loving disposition, possessed a
very independent spirit, and not being able to stoop to those
arts by which profitable patronage is too commonly obtained^
never enjoyed a convenient income, and died poor.

Notturno. — Kalkbrenner.
This, we believe, is the latest work of the author, and may be
reckoned among the happiest of his productions. It is from a
German periodical. ITie composer, in a note, says, that the
accompaniment is for the flute, or violin, or clarinet in C. It may
be played on the piano-forte by a third hand.

FREDERIC KALKBRENNER,

being a living composer, we shall merely state, that he was bom
at Cassel, in 1784, and in 1802 gained prizes at the Conser-
vatoire at Paris, for composition, and performance on the piano*
forte. His father, Christian Kalkbrenner, was a composer, but
better known for his history of Hebrew and Greek music, which
displays much learning, and leaves us to regret that he did not
continue the work.

Slow Movement from Haydn^s Symphony in A,

One jf the author's early symphonies. No. 16 of Cianchettini*s
edition in score, has furnished the present very original and
graceful Largo. It is written chiefly for stringed instruments,
but the oboes are sparingly used, in octaves witn the violin, and
there are a very few bars for the horns. The symphony is, it
may be said, unknown, and the charming movement now given
— which, so far as we know, was never before arranged — ^will
seem new, though at least lialf a century has passed away since
its birth.

We shall take an early opportunity to give a short memoir of
Haydn.

Overture to the Occasionau Oratorio. — Handel.
The oratorio so named was, as the title imports, what the
French call a piece di circonsfance, dbmposed to celebrate the
victory of CuUoden in 1745. The opening of the overture at
once sounds the note of triumph; a nobler or more spirited
movement is not to be found in th^ whole range of Handel's
orchestral works* The second movement, in the fugue style,
and not less pleasing for throwing off the restraints of arbitrary
rule, has always been popular. l*he third, a very expressive ada-
gio, and most judiciously interposed as a relief, brings in, with
an effect universally felt, the celebrated march, a composition of
never-fading beauty, and which proves that what is really ex-
cellent in art can never become superannuated.

A few particulars of HandeFs life will be given when his>
name comes again before us.

Madrigal, ' Awake, sweet Love.' — Dowland.
This elegant piece of vocal harmony, supposed to have been
written at the close of the sixteenth century, was called a ma->

THE MUSICAL LIBRARY.

drigal^ at a time when the term gUe had not been applied to
musical purposes, or it probably would have taken the latter
name, as it exhibits but little of the slilo madrigalesco, and is en-
tirely in the manner of the glee. We have not discovered the
author of the words, which in truth are not worth the trouble of
research^ or the space they would occupy if reprinted.

JOHN DOWLAND,

A celebrated lutanist, was bom in 1562, and admitted to a
bachelor's degree at Oxford in 1588. He published several
works, all of which, save this single composition, are forgotten.
He is immortalized in one of Shakspeare's sonnets. No. 6 of
2%e Pasnonate PUqrim; and in Peachum's Garden o/Heroical
Dewces are the foUowing verses, portraying Dowland*s forlorn
condition in the latter part of his life.

Here Philomel in silence sits alone.

In depth of winter, on the bared briar
Whereon the rose had once her beau^r shown,
"Which lords and ladies did so much desire :
But fruitless, now in winter's irost and snow
It doth despis'd and unregarded grow.
So since (old friend) thy years have made thee white,

And thou for others hast consum'd thv spring.
How few regard thee, whom thou didst delight.
And hr and near came once to hear thee sing !
Ungrateful times, and worthless age of ours.
That lets us pine when it hath crept our flowers.

Song. — Hatdk.

Forgive me if I do not trust

lliose eyes of tender blue !
For she was to my hopes unjust

Who look*d as sweetly true.
Forgive, if caution now denies

The heart's responsive swell !
For hollow were her deepest sighs

Whom I betiev'd so well.

These words, by P. L. Courtier, (concerning whom we have no
infonnation,^ are ttom Ritson*s Collection of English Songs, 2d
edition, 181o. The music is the nineteenth of Haydn's Juieder,
or songs in the German language, published long ago at Vienna,
ivith only the voice and base staves, the vocal part in the soprano
clef, and utterly unknown in this country. The exquisite beauty
of this pronounces its own eulogium.

Song. — Pacini.

Beneath the ocean's swelling wave.
High soul, thy rest must be !

We ask for thee no prouder grave
Than the deep, th' eternal sea.

The 80u*-west breeze is rising now.
The sails full proudly swell ;

The white foam curls around the prow-
Farewell ! a long, a last farewell !

We arc indebted to the New York Mirror for these verses, and
to an admirable amateur — now, alas ! no more — for their adap-
tation to the best (we had almost said the only good) air that
Pacini ever produced. Of the composer we can only say that,
he is one of the humble imitators of Rossini, and has never pro-
duced an opera that has the slightest chance of longevity. This
tir, however, from his Niohe, leads us to hope that, as he is young,
he may yet redeem his credit.

Duet. — Righini.

Lavinia. Come opprima un gran contento.

Or per prova intende il cor !
Enea* Ah ! compensa un tal memento

Ogni andato mio pensier.

A due. Se cosi finisce, o Dei !
Del destin la crudeltk,
Rammentar gl' aiTanni miei,
Dolce gioja a me sarli.

From the serious opera Enea nel Lazio, composed by Kighini
for Frederic- William XL, and performed in the great Opera-
house at Berlin, in 1793. The gentleness and dekcacy of this
duet have reconunended it to the notice of more than one modem
, composer, a fact visible in the unfair use that has been made of

it, which has scarcely ever been detected, for the compositiph is
little known any where, and quite new to our musical circle.

VINCENZO RIGHINI,

a Bolomese, bom about the year 1758, was a discifle of the
Padre, Martini, and first appeared at Prague, as a singer. In
1779 he was appointed Kapellmeister to the Italian Opera at
Vienna. In 1788 he filled the same office at Mentz, where he
wrote several operas. In 1792 he was invited to Berlin by flie
King, and produced the above work, which obtained for lum
appointments worth 4D00 thalers (620Z.) per annum. He died
at Bologna, whither he had proceeded in order to undergo a
surgical operation, in 1812. Righini composed many Italian
operas, but not one of them has ever been heard in this oountiy ;
though, if produced, they would show that much excellent music
is suffered to remain unknown, while downright trash, under the
pretence of being new, is brought forward and applauded.

SoNo. — Mendelssohn.
The kiss, dear maid ! thy lip has left

Shall never part from mine.
Till happier hours restore the gift

Untainted back to thine.

The parting glance, which fondly beams.

An equal love may see :
The tear that from thine eyelid streams

Can weep no change in me.
I ask no pledge to make me blest

In gazing when alone^
Nor one memorial for a breast

Whose thoughts are all thine own.

Nor need I write — to tell the tale

My pen were doubly weak :
Oh ! what can idle words avail.

Unless the heart could speak? ^

By day or night, in weal or woe,

That heart, no longer free.
Must bear the love it cannot show,

And sDent ache for thee.

Lord Byron wrote these verses 'on parting,* but from whom
he does not avow. In adapting them to the music the third
stanza is omitted.

FELIX MENDELSSOHN,

who now adds Bartholdy to his patronymic, was bom at Berlin
in 1809. His father is an eminent merchant, and his grand-
father was the famous Jewish philosopher and elegant writer,
Moses Mendelssohn. In infancy, he showed a strong predilection
for music, insomuch that, when he was but three years of age,
his mother initiated him in the elements of the art. He was soon
placed under the instruction of M. Zelter, who had abandoned
the profession of architecture for that of music, and was in every-
way QuaUfied to communicate knowledge; and the child profited
so well by such instruction, that in his twelfth year he composed
several operas. He, however, was first made known to the pub-
lic in 1826, when his Hochzeit den Gamacho, the Marriage of
Gamacho, was successfully performed at Berlin. In 1827, at
a concert at Stettin, his admirable overture to A Midsummer
Night's Dream was produced, a work which, in 1830, when per-
formed here under his own direction, by the Philharmonic band,
excited a feeling almost amounting to enthusiasm in favour of the
youthful composer. The overture to the Caves of Fingal soon
followed, and with the same efiect, as well as many other works.
M. Mendelssohn is for the present settled at Dusseldorf, being
engaged, with a handsome salary, to direct the musical institu-
tions of that city. He is one of the greatest pianists in Europe,
but his talents as a composer have placed him in a much more
elevated situation than a mere performer can ever hope to attain.

Glee. — Callcott.
Forgive, blest shade ! the tributary tear*^

That mourns thy exit from a world like this ;
Forgive the wish that would have kept thee here,

And stayed thy progress to the seats of bUss.
No more confined to grov'lUng scenes of night.

No more a tenant pent in mortal clay,
Now should we rather hail thy glorious flight*

And trace thy journey to the realms of day !

B 3

THE MUSICAL LIBRARY.

This is an epitr.ph in a cliiiiTliyard in the Islo of Wight, set
to music with groat fooling, and in I ho pnrpst ta^te.

We will take the present opportnnity to ohsorvo, that though
a piano-foite j.nrt is added, a ]>rn ctioe which wo shall con-
'tinue to follow in the case of all music of the same kind, yet it is
*^iven for the convenience of those only who require tiie aid of an
instnmient, and ouoht not to le used by such as do not feel
the ncco^Mty of support. A glee, properly so called, should,
•whenever pos.>:.ible, be sung without accompani^nent.

JOHN WALL CALLCOTT, MUS. D.

This very distinguished glee-writer, and accomplished, amiable
•xnan^ was born at Keusington, in 1766, and at first educated as
a surgeon ; but the sight of a severe operation so powerfully acted
• on his nerves, that he at once abandoned the pursuit, and
-^devoted himself to music, Avhich he had studied only as an amuse-
ment. . He soon became acquainted with Doctors Arnold and
Cooke, from whom he incidentally acquired much musical know-
ledge. In his nineteenth year he gained three out of the four
prize medals, then annually given by the members of the Catch-
Club, and thus commenced a career which soon raised him to
the highest eminence in his branch of composition. In 1785, he
was admitted Bachelor of Music by the University of Oxford;
and in 1800 proceeded to the degree of Doctor. In 1790, he pro-
fited by Haydn's visit to this country, and studied composition
imder that great master. Dr. Callcott's works are numerous, and
too well known to render an enumeration of them necessary.
His Musical Grammar, which is in the hands of so many, is a
volume of much utility ; and he projected other didactic works,
which, unhappily, his health did not allow him to complete. In-
deed, to the application necessary in the preparation of these, added
to his professional and literary pursuits, which altogether bore too
heavily on a frame not naturally strong, may be attributed that
settled mental disease, Avhich finally robbed his family of an
excellent husband and father, society of a well-informed, scholar,
and his art of one of its greatest ornaments. He died in 1821.

Song. — Storacb.
* Toll, toll the knell!'
fiiom the opera of Mahmoud, the words of which, by Prince
Hoare, though passable on the stage, where lyric poetry has not
been in a very palmy state during the present century, have not
sufficient merit to tempt us to insert them here ; but the music to
• which they are united will long preserve them from oblivion.

STEPHEN STORAGE,

a native of England, though his father was a Neapolitan, was
bom in 1763. When young, he was placed in the Conservatorio
of St. Onofrio, at Naples. On completing hb education, he made
an extensive European tour, in company with his sister, the cele-
brated Anna Storace, and both obtained an engagement at the
Imperial Italian Theatre at Vienna, for which Storace composed
an opera on the subject of Shakspeare's Comedy of Errors, under
the tide of GF Eqiiivoci, much of the music whereof the author
afterwards transferred to his English operas. In 1787, the bro-
ther and sister returned to this their native country, and were im-
. mediately engaged at the King's Theatre; but intrigues soon
drove away a man who had too much honesty and ability to em-
ploy himself in combating jealousy and low cunning, and Sto-
race never again could be persuaded to take any part in the
affairs of that establishment ; he therefore devoted his talents to
Drury Lane Theatre, where he produced 7%e Siege of Belgrade,
(altered from La Cosa Rara,) The Haunted Tower, Pirates,
Lodoiska^ &c., and set the music to Colman's Iron Chest, at the
first rehearsal of which he caught a cold, that terminated his life
on the 19th March, 1796. The opera of Mahmoud, then
nearly completed, was brought out a few days after his decease,
for the benefit of his widow, and with the greatest success.
Storace was a highly-gifted, able man. * Had Stephen,* said
Sheridan, ' been bred to the bar, nothing could have prevented his
becoming Lord Chancellor.'

Duet. — Purcell.

Two daughters of this aged stream ate we.

And both our sem-green locks have comb'd for thee.

Come bathe with us an boar or twa»

Come naked in, for we are so;

What (Ijiivjcr from a iialcod foe?

Come luit'ie w th rs. c »ine hathc and share

What I li^aFiirrs in the fl > xl^ a- ])?\\r.

We'll boat the waters till tlv^y bound.

And cin;le romid, iironiid, around.

And circle round, around.

From tl:o M<iH(inn of Kix? AnTTiru, ns GaiTick called it, — or
Dnnnatir Oprrri. as ont'tlod by the author, Drydon, who, in his
I'pistlc-Dcdic.jtorv to the Marquis of I lali 'ax. prefixed to the
drama, \\\\i^ iiientiiins the iiiusjc set to it: — * Music has arrived
to a <]ri(>ater ]KM*lectioa in Kn^land than ever formerly; especially
passin;^^ throucyh tli*^ artful hands of Mr. Purcell, who has com-
posed it [Kinty Arthur] with so ^reat a genius, that he has
uothinjj to <ear but an ignorant, ill-ju 'ging audience.'

Of this duet Dr. Burney truly remarks, ' If ever it conld wMi
truth be said of a composer, that he had devance son siecle,
Purcell is entitled to that praise, as there are movements in
many of his m>rks which a century has not injured, particularly
the duet, " Two daughters of this aged stream," which contains
not a single passage that the best composers of the present times,
if it presented itself to their imagination, would reject.' —
(Hist kbf Music, iii. 492.)

It will be observed that, though we have above given the
words as written by Dryden, we have made a slight alteration
in them, as placed under the notes ; thus rendering them more
compatible with modern notions of delicacy.

King Arthur, under the title of Arthur and Emmeline, was
revived at the English Opera- House two years ago, with all the
original music, and most successfully. Judicious additions were
made to the accompaniments, and thus improved, we trust that
it will be considered a stock-piece. Three or four times in a
season it will be pretty sure to attract a full audience.

Of Purcell in a future number.

TIIE COMMEMORATION OF HANDEL, IN 1784.
This celebration, which took place in Westminster Abbey exactly
half a century ago, forms one of the great musical epochfts, and
is recognized as such, not only by our own writers and professors^
but by those of every other country ; for no event of the kind,
indeed no exhibition of art, ever excited so general an interest :
its fame reached the most remote shores of the Mediterranean,
and even resounded from the then half-civilized banks of the
Neva. Its influence on these kingdoms, in reviving that love of
harmony which had been nearly extinguished during the sour
age of Puritanism, and was still but very slowly recovering, was
immediately felt : music-meetings were held in many large towns
where an orchestra had never before been erected, and almost
every village soon had to boast its Musical Society. The con*
certs in London, of various descriptions, were nearly doubled in
number : the theatres found it necessary to meet the public taste
by a more frequent production of lyric dramas, and the English
opera soon jose from the subordinate rank of ^n after-piece, to
that in which it became the chief entertainment of the evenings
Such having been the important results of this celebration, and
more especially on the eve of another series of performances under
the same roof, and of a similar kind, — but which ought to be
in every respect as far sui)erior as the performers of the present
day surpass those of the last age — ^some particulars of a Com-
memoration which is now mixed up with English history cannot
but be interesting, and may prove serviceable ; for the account of
it, written by Dr. Burney, and published in 1785 — ^whence we
extract nearly all that follows — is in few hands, and many erro-
neous statements concerning the event are already in circulation
and obtaining credit, in the absence of more authentic infor*
mation. •

The Commemoration took its rise. Dr. Burney tells us, 'in a
conversation between Viscount Fitzwilliam, Sir W. W. Wynn^
and Joah Bates, Esq., Commissioner of the Victualling-CMSce^
the beginning of the year 1783. At the house 'of the latter,
after remarking that the number of eminent musical performers
of all kinds, with which London abounded, was far greater than
in any other city in Europe, [how Grermany has since surpassed
us !] it was lamented that there was no periodical occasion for
collecting and consolidatine them into one band, by which meeas
a performance might be exhibited on so grand and magni fi cent
a scale as no other part of the world could equal. 'Ae birth
and death of Handel naturally occurred to three such eiitM*

THE MUSICAL LIBRARY.

«siastic admirers of that great niasterj and it was immediately
•recollected that the next year would be a proper time for the
< introduction of such a custom, as it would form a complete cen-
:Tury since his birth, and an exact quarter of a century since his

decease.

* The plan was soon aftor communicated to tlie Governors of

the Musical Fund, who approved it, and prouji^od their as^ist-
^ ance. It was next submitted to the Directors of the Concert of

Ancient Music, who voluntarily undertook the trouble of maitao^-

mg and directing the celebration. At length the design coming
. to the knowledge of the King, it was honoured with his Majesty's

sanction and patronage. Westminster Abbey, where the bones

of the great musician were deposited, was thought the properest
. place for the performance ; and application having been made

• to the Bishop of Rochester [Dr. Thomas, the dean] for the use

• of it, his lordship, finding that the scheme was honoured with the
f patronage of his Majesty, readily consented ; only requesting, as
: the performance would interfere with the annual benefit for the
*' Westminster Infirmary [Hospital], that part of the profits might

• be appropriated to that charity. To this the projectors of the

• plan acceded ; and it was afterwards settled, that the profits of
' the first day's performance should be equally divided between the
' Musical Fund and the Westminster Infirmary ; and those of the
[ subsequent days be solely appropriated to the former.

'Application was next made to Mr. James Wyatt, the archi-
; tect, to fiimish plans for the necessary decoration of the Abbey ;

• drawings of which, having been shown to his Majesty, were ap-
. proved. The general idea was, to produce the effect of a royal

• musical chapel, with the orchestra terminating one end, and the

• accommodations for the Royal Family the other.

'The arrangement of the performance of each day was next
settled. ... It was originally intended to celebrate this
grand musical festival on the 20th, 22d, and 23d of April ; and

• the 20th being the day of the funeral of Handel, part of the
. music was, in some measure, so selected as to apply to that in-
j cident. But in consequence of the sudden, dissolution of parlia-
ment, it was thought proper to defer, the festival to the 26th,
27th, and 29th of May, which seems to have been for its advan-
tage ; as many persons who ventured to go to W^estminster Abbey
in waiin weather would not have had the courage to go thither

' in cold.
. ' Impressed with a reverence for the memory of Handel, no
• sooner was the project known, but most of the practical musicians

• in the kingdom eagerly manifested their zeal for the enterprise ;
and many of the most eminent professors, waiving all claims to
precedence in the band, offered to perform in any subordinate
station in which their talents could be most useful.

' By the latter end of February, the plan and necessary
arrangements were so far digested and advanced, that the
directors ventured to insert in all the newspapers the following
, advertisement:

<' Under the Patronage of His Majesty.

In Comlnemt)ratibn of Handel, who was buried in Westminster
Abbey, on the 20th of April, 1759— On Wednesday, the 21st of

• April next, will be performed, in Westminster Abbey, under the
management of the

Earl of Exeter,
Earl of Sandwich,
Viscount Dudley and Ward,
Yiscoimt FitzwUliam,

Ijord Paget,

Right Hon. H. Morrice,

Sir Watkin Williams Wynn>

Sir Richard Jebb, Bart.,

Directors of the Concert of Ancient Music,

some of the most approved pieces of Sacred Music of that
great composer. The doors will be opened at Nine o'clock,
and the performance will begin precisely at Twelve,

" And on the evening of the same day will be performed, at
the Pantheon, a grand miscellaneous Concert of Vocal and
Instrumental Music, consisting entirely of pieces selected from
the works of Handel.

" And on Saturday morning, April 24th, will be performed,
in Westminster Abbey, the second Oratorio of the Messiah.

'* Such is the reverence for this illustrious master, that most
of the performers in London, and a great many from different
fmtis gSf tbe kingdom, have generoudiy offinred their assistance ;
and the orchestra will cmisist of at least Poor Hundred Per-
formers, a more Bomerous bsnd than was ever known to be
effected in any eonntry, or or any oeeasion whatever. The

profits arising from the performances will be applied to charitable
purposes.

**Tlie directors of the Concert of Ancient Music have opened
books to receive the nnmes of such persons as are desirous of
encouraainj]: this under' aking, and will deliver out the tickets
for the several perfonnuu cs, at One (fuinka each."

' llie orpau used on this occasiin was that now in the cathe-
dral of Canterbury, for which it had recently been built by
Green, and was lent to the directors by the Deati and Chapter
of that clnu'cdi, previously to its erection in the place of its des-
tination. The keys of comraunicaiion with the harpsicord, at
which Mr* Bates, the conductor, was seated, extended nine-
teen feet from the body of the organ, and twenty feet seven
inches belotr the line of the first set of • keys by which it is
usually played: To convey them to so great a* distance from '
the instru*rent/ without rendering the* touch impracticably*
heavy, Vequifed uncommon ingenuity ' aid mechanical re-'
sources.

'In celebrating the disposition, discipline, and <?ffecta of thisf
most numerous and excellent band, tne merit of the admirable
architect who furnished the elegant designs for the orchestra
and galleries must not be forgotten; as, when filled, they
constituted one of the grandest and most magnificent spet!-
tacles that imagination can delineate. All the preparations
for receiving their Majesties, and the first personages in the
kino-dom, at the east end ; — upwards of five hundred musiciafis
at the west, and the public in general, to the number of between
three and four thousand persons, in the area and gaUerifes/^
wonderfully corresponded with the style of architecture of this
venerable and beautiful structure, that there was nothing visibTfe,
either for use or ornament, which did not harmonize with tKe
principal tone of the building. But, besides the wonderful
manner in which this construction exhibited the band to the
spectators, the orchestra wad so judiciously contrived, that
almost every performer w^as in full view of the conductor and
leader; which accounts, in some measure, for the uncommon
care with which the performers confess they executed their
parts.

'The whole preparations were comprised within the western
part of the building, or broad aisle ; [thp nave.] At the eo^t
end of the aisle, a throne was erected in a beautiful Gothic style,
and a centre box, richly decorated and furnished with crimson
satin, fringed with gold, for the reception of their Majesties and
the royal family ; on the right hand of which was a box for the
bishops, and on the leil, one for the Dean and Chapter of West-
minster. Immediately below these tw^o boxes were two others;
one, on the right, for the famiUes and friends of the directors,
and the other for those of the prebendaries of Westminster^
Immediately below the King's box was placed one for the
directors themselves. Behind, and on each side of the throne, .
were seats for the royal suite.

' The orchestra was built at the opposite extremity, ascending
regularly from the height of seven feet from the floor, to upwards
of forty from the base of the pillars; and extending from the-
centre to the top of the side aisle.

' The interrtiediatfe spate below was filled with level benches^
and appropriated to thfe early sub^cribefs. The side aisles were
formed into long galleries, ranging into the orchestra, and
ascending, so as to contain twelve rows on each side ; the fi-onts
of which projected before the pillars, and were ornamented with
festoons of crimson morine.

'At the top of the orchestra was placed the organ, in a
Gothic frame^ The choral bands were principally plaoed'in
view of Mr.. Bates, on steps, seemiogly ascending into the douda^
in each of the «ide aisles. •

'Of the care and intelligence with which preparations were
made for these performances, some judgment may be formed from
the single circumdtancef of the mnsic-books that were provided
for each day ; *as twd hundred dnd seVenty-four were requisite for
the first performance in the 'Abbey, &c., not one of which was
missing, or mislaid ; nor was an instrument wanting during the
whole Comnqemoration.'

It appears t^iat tl^ere wjas but one general rehearsal for each

performance, but there were several ariUing rehearsals for the

choral performers, at the Tottenham-street Coneert-foom, bow

' the Fitzroy Theatre^ The rehearsals were turned to aceoimt, by

admitting auditors at half-a-guinea each.

' Foreigners,' isays ©r. Bumey, * particularly the French, must

THE MUSICAL LIBRARY.

be astonished at so numerous a band moving in exact measure,
without the assistance of a Coryplujeus to beat time, either with a
roll of paper^ or a noisy baton. Rousseau says that ** the more
time is beaten^ the less it is kept ;" and it is certain, that, when
the measure is broken, the fury of the musical-general, or director,
inereasing with the disobedience and confusion of his troops, he
becomes more violent, and his strokes and gesticulations more
ridiculous, in proportion to their disorder.'
At the first performance there were.

Ist Violins

Snd Do. .

Violas .

Violoncellos i

Doable Bases •

Oboes .

Bassoons •

Double Bassoon «

Homs • «

246

Trumpets •
Trombones

Double Drams

Sopranos • •

Altos . ,

Tenors • •

Bases

Total .

513

Carried forward • 246

On the third day these were increased to five hundred and
4hirty-five. It will not fail to be remarked that neither flute nor
clarinet was used ; indeed the latter was then almost unknown in
Eiu^and ; in HandeFs time it did not exist.

The success of the three performances was so great, and so many
were disappointed in gaining admission, that two more days were
•dded^ — ^tne 3rd and 5th of June, for which nearly four thousand
guinea tickets were sold.

Tie directors announced in the first advertisement did not all
act; those to whom the credit is due, of having been active in the
management of this Commemoration, are«—

llie Earl of Exeter,
The Earl of Sandwich,
TheEarlofUxbridge,

Directors.

IShr Watkin WQliams Wynn,
i&nd
Sir Richard Jebb, Bart

AsSISTANT-DlRXCTORS.

Mr; Thomas Saunders Dupuis,
Mr. John Jones,
Mr. Theodore Aylwaid,
Mr. William Parsons.

Dr. Benjamin Cooke,
Dr. Samuel Arnold,
Dr. Edmund Ayrton,
Mr. Redmond Simpson,

But to the encomiums so justly bestowed on the able manner in
which the band was conducted, Joah Bates, Esq., solely entitled
himself; his labours were unremitting, and his reward — complete
success. It should also be mentioned, that both directors and
assistant-directors incurred a very considerable expense in the
dischaige of their respective duties, and took not a single ticket,
even for their own families, without paying the full price for it.

The printed return of the Receipts and Disbursements of the
sums received at this Commemoration is as follows : —

1784

• •

Receipts.
Ist day, at Westminster Abbey, May 26th,
2nd, in the Pantheon, May 27th
3rd, in Westminster Abbey, May 29th •
4th, do. June 3rd

6th, do. June 5th •

At three Rehearsals •

His Majesty's Donation
Sale of printed books of the words

Total Receipts

£.

«.

2966

1690

2626

1603

2117

944

525

262

12,736 12 10

Disbursements.

%ILr, Wyatt, for building in Abbey and Pantheon • 1969 12

Payment of band • 1976 17

Rent and lighting Pantheon • • • • 156 16

Advertising ..««•••• 236 19 o

Printing books of the words • • . • 289 2

Door-keepers 4 • • « • « • 102 1 6

Use of Organ 100

High and petty constables 100 5

Gratifications •••.«•• 167 5
Engraving cheques and tickets; striking medals; draw-

inf^; guards, porters, &c. • • • « 351 8 10

To Society for Decayed Musicians • • • 6000

To the Westminster Hospital 1000

Left in the hands of the sub-treasurer to answer subsequent

demands • . • « • . « 286 6 6

Total Disbursements

12,736 12 10

In our next we shall give some account of the performances
in Westminster Abbey during subsequent years, and of the
annual and great increase in the number of performers. Also
a few particulars of the most remarkable Musical Festivals in
the provinces, particularly that at York, in 1825.

CONCERTS OF ANCIENT MUSIC.

To these concerts, instituted nearly sixty years ago, the preservation of
that music which Haydn, Mozart, and Beethoven, looked up to with
reverence, and the study of which is as essential to the well-educated
musician, as that of the great schools of design to the fimshed painter, is
mainly owing. While fashion was encouraging the most frivolous Italian
composers of the day, and thirsting after novelty, however contemptible,
the Ancient Concert steadily pursued its course, and by presenting the
best models of composition to persons of the influential class, varying
annually from six to seven hundred in number, and to the first per-
formers in the country, united in its band, disseminated a taste for the
sublime, the beautiful, the true in music, the effects of which have long
been and slill are visible in all our provincial meetings, are easily to be
discovered in the productions of our best composers, and may even be
traced in the manner of such foreign singers as have passed two or three
seasons in this country, who, it has been remarked by able judges, both
here and abroad, are almost invariably improved by hearing, what till
recently they could hear no where else, the works of Handel, Purcell*
Corelli, and other great masters, including the madrigalists, of the six-
teenth, and seventeenth, centuries.

Some fears were last year entertained that the Ancient Concert had
reached that period of senility which indicated immediate dissolution;
but the activity of one or two new directors, a timely, judicious alteration
of system, and the liberal as well as prudent sacrifices made by the per-
formers, infused new life into the institution, and so flur renovated it, that
the subscribers are much increased in number, the finances are in a state
which may be called flourishing, and there is every reason to believe that
no present danger exists of our losing what, in spite of its faults, and
some are undeniable, has been the best school for music that England,
perhaps Europe, ever yet boasted.

The first concert of the season took place, at the Hanover-square
Rooms, as usual, on Wednesday the 5th of March, under the direction
of the Duke of Cumberland. The following is the program.

ACT I.
Coronation Anthem, < The King thaU rejoice.' \

Sonf?, «Morir6! maTeodicata.' . . | M« Ma«m. (TWeo.) J

Madrigal, (Full Choir) < Die not, fond man.' Ward.

Song, * Oft on a plat' Mr. Bennett. (IT PtntUron,) • • • • Handsl.
Concerto (in A minor) ••••••••• BIabtini*

K; ' Ah iTiSS!,*' } M«- H. B. Bidiop. (// Sacrifci, dAbram,.) CrMU,o^
Chonii, ' He gave them haiUtones.' (Jtrael in Egypt.) • « • I rr
Song, 'Lascia Amor/ Mr. FhilUpe. iOrtamdo) • . . J H^ndm-
Quartet < Sing imto God/ . • 1 #^. j «^_

Choriw, 'Cry aloud and »hout.' }• • • • CaoFX and Gbbatorbx.

ACT II.

Grand Concerto (5th) 1

Recit *0 worse than death.' \ „ Knvw«« rrA«Mfor«.^ J Hand«u

Song, 'Angeli, ever bright.' ) Mri. Kny?ett (rA^xtoro.) . .J

Glee, < Coid in Cadwallo't tongue.' HoneLBT.

Recit « Let but that spirit.' \ y^^ ti-«««i* /'c— .^- \
Song, *ThuH when thi«un.7^'-^°°*"- (S«m«ii.) .
Duet, ' O nerer, never bow me down.' Mn. H. R. ^

Bitthopand Miss MaHSon . • • .1 (Juda9 Maeoaheu.)
Chorus, ' We never will bow down.' . . • )
Uecit ♦ Me, when the aun.' ) »#• r« w^- ii» / n o \

Song, 'Hide me from.' . | M.» C. Novello. (iZ />«tim«o,) •

Madrigal, (Full Choir.) ' When all alone.' ....

Grand Double Chorus. From the censer. {Solomon.) • . • Handbl.

The Scena^ for such it is, from Handera opera Teseo (Theseus) was
first introduced hy Miss Masson last year. The good sense, the feeling,
with which she delivered the recitative, proved how just an estimate she
had made of her powers, of her correct and articulate pronunciation of the
language, in choosing this ; but the air requires a voice of greater flexi-
bility, the divisions — (shall we boldly declare these to be barbarisms,
but belonging to the age?) — are not suited to her : she is equal to what
is much better, — pathos, expression.

The fine madrigal of Ward, composed at the end of the sixteenth, or
beginning of the seventeenth century, wanted firmness, and a greater
equality of voices ; the trebles were too powerful, rather shrill ; and the
baton of the conductor made itself too audibly a partner in the concern.
Mr. Bennetts tenor voice, of a good but improvable quality, will render
him a more than useful singer, and may lead to eminence, with study;
but he now so overcharged the air with shakes and turns, that we cannot
but consider his performance rather as a failure.

The execution of Martini's Concerto was perfection itself. Other may
surprise, but Cramer with his violin goes to the heart. In the lovely
movement in A, a slow minuet, he excited strong emotion in all his
auditors. He. is not one of those who, according to the well-known

* Handsl*

CoNVSRtO*

THE MUSICAL LIBRARV.

epigram, move only the fiddlestick. The scena of Cimaroaa only wanted
• little more phyncal power in the singer, and a more distinct cal-
culation of the words. The Hailstone Chorus, so performed, has hut
one fault, — ^it is too' short; and, unhappily, the company here are too
polite to he warmed into an encore. Croft's Anthem, especially as
improTed hy the late Mr. Greatorex, is a chef-d'oeuvre. Mr. Knyvett,
in learing the singers to themselves, by the omission of the oigan in the
quartet, showed a refinement in judgment very rare indeed in a conductor.
Handel's Fifth Grand Concerto again enabled Mr. F. Cramer to dis*
play his chaste style and pure rich tone. Mrs. Knyvett, in * Angels ever
pright and fair,' stamped herself a worthy disciple of the * ancient ' school,
in which she was educated. The glee was well executed : we were glad to
hear an old Heve of these concerts, Bellamy, in such force. The duet,
•O never bow we down,' deserved better treatment; it was a sad aflGiir.
Miss C. Novello, in one of Handel's finest compositions, afforded us great
pleasure : her clear voice and correct intonation are most valuable qualities,
and she always seems to be thoroughly acquainted with her part. We
would guard her against the too frequent introduction of the turn, which,
employed sparingly, but by no means so often as formerly, is an ornament :
used prodigally, it indicates anything rather than a refined taste. There
were points in her perforraance of this which showed thought, and led
lis to conclude that she had studied the words as well as the music ;
hence we are induced to hope that she will cultivate intellectual singing,
leaving roulades and * the trickeries of art ' to those who have more
Tolubihty than understanding. Converso's Madrigal (1575) was very
well performed, though the ladies were still over-strong for the gentle-
men. The magnificent double -chorus went off admirably, as all such
compositions do at these concerts.

SSCOND CONCERT, WEDNESDAY, the 12th of Much.
Under the Direction of the Archbissop ov Yoax.

ACT I.

Openisff and First and Second Movements. ( Dettingen Te Dtum.)
Trio, ^ Fall'n is thv throne.* Mrs. Knyvett, Messrs. Bennett and Phillips.
Sonj^, * Why do the nations.' Mr. Phillips. . • (Meuiah.) .

;}

Handbl.
Mlllico.

Handel.

Hanbbl.
Haton.

Martini.
Handbl.

TVio and Chorus, * Disdainful of danger.' ' {Judas Maceabetut.)
Concnto 2nd . . • {Oboe,) • . . •
National Anthem. < Lord of Heaven.'
Song, < Let the hright Seraphim.' Mad. Caradori Allan. (Ssmiefi.}

Becit. < And God said.' 1

Kecit ace. * In splendour bright.' Mr. Bennett. . > (Creation.)
Chorus, ' The he&yeus are telliug.' . . .J

ACT II.

Overture . • • {Henry the Fourth,) . • •

Recit ' BlessM be the Lord.' \ w^ ir„^«H /-c^a.-.^- ^

Song, 'What though I trace/ } Mrs. K:nyYett {Solomon.^ .

Chorus^ ' Gloria in excelsis.' Pbroolbsi.

Duetto, ' Deh ! prendi.' Mad. Caradori Allan and Mrs. Knyvett. . . Mozart.
Movement from the LeRSons. .... Handbl and Gkbatorbx.
Song and Choru^ ' Vengo a voi*' Mad. Caradori Allan. . . Guguelmi.
Quintette, 'Donipace.' . • . {F/aviut») • • • Handbl.

I^g.-Un'ireroiL..: : } Mr.Benn.tt. . (0^„..) • • H«„k.
Chorus, < Gird on thy sword.' • • {Saui,) • • • Hamobl.

Of this concert, which from illness we were unahle to attend, we must
■peak very hriefly, and from the scanty information of a gentleman who
was present during only a part of the performance.

Madame Caradori, who had heen ahroad for some three or four years,
appeared now for the first time since her return, unaltered in all respects.
She reached the high notes in ' Let the bright Seraphim* without effort,
and in the duettino, ' Deh ! prendi un dolce amplesso,' with Mrs. Kny-
vett, was encored, an honour seldom conferred by the ancients. The
latter, in an air exactly calculated for her, ' What though I trace,* was
was excellent. Mr. Bennett, who supphed the place of Mr. Braham,
or, rather, took what would have been assigned to him, wants strength
for ' In splendour bright ' ; he should not hazard such attempts. The
composition called * National Anthem,' and to which no name of a
composer is affixed, — for what reason it would puzzle an (Edipus to tell,
— is Haydn's Hymn, with English words, not a translation, written to
it by the ]ate John Crosse, Esq., of Hull. There was a great deal of
variety in this selection, which compised music of a lighter kind than is
commonly to be met with in the Ancient Concerts.

THIRD CONCERT, WllDNESDAY, the 19th of Maicb.
Under the Direction of Karl Howb,

ACT I,
God save the King^ Verse and Chorus*

Overtore and Dead March • • • -i

Chorus, ' How excellent.' . . ,1

Semi-Chorus, * T^e youth inspired.' • > {Saul,) • • • • Haxvdbu

IPull Chorus, 'Our fainting courage/ « I

Grand Chorus, * How excellent.' • • •'

Madrigal, * Flora now calleth forth each flower.' • • . . J. S. Smith.

(iScMuofi.) • Handbl.

Recit. * Relieve thy champion.' , • \ «.^ »#»..^

Song, « Return, O God of Hosts.' . / ^^ Masson.

Recit. < And God made.' • . . Mr. Phillips. \ //v^*i...\ ti*^«-.

Solo and Chor. 'The marvellous work.' Mrs. Knyvett. / (^^^'»'^) • iiAYW.

Quartet and Chorus, ' Their sound is gone.' • {Memah,) •

Handkl.
Hamdbi.

ACT IL

Concerto (in O) *. •.••.» . • • • . Krwm^
Scmft 'SShSs'iidciLw ' } Mad. Csradori Allan. (i^o««eCW•>//a.) ZnioA«iU4.
Glee^ ' Blow, blow, thou winter-wind.' ••••»• STXTBicfl*
Recit. < Rejoice, my countrymen.' 1

Recit ace* Thus saith the Lord.' Mr. Phxllipe. > {BMnxMor.) • Hkiamu
Chorus, < Sing, O ye heavens.' J

Quartet. < Ave verum.* Mosarv,

H«it. • Ye T«du>t plain./ J ^^ ^ 35,^^ ^^^^ ^ ^^^^^

Song, * Hush, ye pretty.'

Grand Chorus. Hallelujah ! ' {Mount of OHvet,)

« Hamdxi,

BsETKOVSlf,

The Queen, accompanied by the Dukes of Cumberland and Glouces-
ter, attended this Concert, and was received with ^ God save our gra-
cious King!' The old, and almost worn-out, selection from Saul waft
at least well performed; but the semi-chorus, * Along the monster-
atheist strode ' — the finest part of the scene, by the by, — being
omitted, the rest of the words become unintelligible. Stafford Smith's
madrigal leaves most other things of the kind far behind, and convinces
us that the talent for this species of composition was only smothered, not
extinguished by the Round-Heads, the Sir Andrew Agncws of the
* Praise-God-bare-bones' period. The deeply devotional air from Sam^
son was sung in a manner, by Miss Masson, that left nothing to which
the severest critic could object. Not a syllable less can be said of
Mrs. Knyvett's scene from Jephtha : we never heard it delivered in a
more pure, a more affecting manner. And we will take the present
opportunity to say, that the great merit of this lady is not justly appre«
ciated by managers of concerts. Why is she never, or very rarely,
heard at the Philharmonic ? Why at certain music meetings is she
never engaged? — ^The chorus from Joshua was a most spl^did per*
formance. The movement in b minor, with the bursts of the braae
instruments, shakes the strongest nerves. We have here an instance
of the sublime in music.

Avison's Concerto in g minor, for stringed instruments only, would
not so long have kept its ground had it been the meagre composition
that some pretend, for the name is not a rallying word for partizans.
The slow aria in the major key with which it concludes may, for
beautiful melody, challenge any composition, of any. age. . The cde^
brated scene from Romeo was most delicately sung by Mad. Caradori;
but, in truth, it wanted male attire : and it also wanted that effect
which Mad. Pasta, and she alone, can, or could once, give to it*
Stevens's clever glee, full of genius, was delightfully sung. The selec-
tion from Belshazzar proved to us as tiresome as ever; the eternal
recitative, tolerable, perhaps, as part of a musical drama, is hardly
bearable detached, and in a concert room. The chorus certainly i&
masterly, but hardly indemnifies one for the fatigue of listening to the
previous part. Mozart's quartet, a very soothing piece of vocal bar*
mony, was most adequately performed. At her majesty's desire, thia
charming composition was repeated. The present is not the first proof
we have witnessed of the queen's taste. Alter the solemn quartet,

< Ave vemm corpus natum
De Maria Virgine'

came, •Hush! ye pretty warbling quire,* very prettily sung by
Mrs. Bishop; and this amorous ditty was immediately followed by
the sacred chorus from the Mount of Olives^ ^Halldujah! to the
Father,' &c., the execution of which was perfect.

PHILHARMONIC CONCERTS.

Most of our readers are acquainted with the history of the Philharmonic
Society, its rise and progress, but some few may vet have to learn whea
it was instituted, and with what view. To such we will briefly state,
that it was established in 1813, for the purpose of revivmg a taste for
instrumental music of the highest class, a kind of composition that had
fallen into n^lect, from the imperfect manner in which, for many years,
it had been performed at benefit concerts, where alone modern sympho*
nies, &c., were attempted, and where they almost invariably became 4
sacrifice.

The plan proposed, which was of the most disinterested and liberal
kind on the part of the members of the new Society, thirty in number,
was highly approved by the amateurs of this metropolis, and the under-
taking was immediately rewarded by a success which has never yet de-
serted it. The object was at once attained, and Haydn, Mozart and
Beethoven soon became more familiar to the lovers of music in this
country than, we fearlessly assert, to those m any other quarter of Europe*

The first concert of the twenty-second season was given on Monday^
the 3rd of March, and consisted of the following works : —

ACT !•

Sinfonia, No. 1 « . Sfohb,

Aria, Signor Zuchelli, < A rispettarmi.' Ca&afa«-

Quintetto, (No. 2) Piauoforte, Violin. Viola, Violoncello, and Con-1 j « CaAiaA

tra-BasK), Mevsrs. CraAier, Mori, Moralt, Lindley, and DragonettiJ ' * ^^^
Cantata, ' The Seventh Da^f.' Composed ezprewly for the Philbar-'

monie Society, and first time of performance. The Soloj

Mrs. H.R. Bishop, Miss Clara Novello, Mr. Homcastle, *

kins, and Mr. S. Taylor •. • • •

the PbiUlar-^
^olo parts by I
le, Mr.Havir-r

H. R. BiaKOPy

¥>

THE MUSICAL LIBRARY.'

fiiofonia. No. 7 Bxbthotzk.

Terzetto/ Miss Cllra Novello,' Mrst H.rf. Bishop, and Mr. Horn- 1 ,j,^ ,„,

^ca«tl«. *Piia4iipwtur/ (AWm.) J mozabt.

CoDcertOy Violin, Sif^r Masoni ...«•. KfUturzEB.
Quartette, Mw. H. £ iTishop,* Miss'Clara'Novetlo, Mr. Horncasfle, ) n---.~o«^ -

Chxrubiki.

.and Signer Zuchelli, Ml cor e la mia fe.' {FUlelio,'^
werture/ (Le« J^iur Joum^et.) '. . I • »
. . Leader, Mr. Mori."* Conductor, Mr. Cramer.

.Spohr's Symphony, in E flat, is a very scientific composition through-
olit ; much', as all his productions are, in the style of Mozart, hut making
Up in elaboration whkt it may want in imagination. The whole, never-
theless, shows the hand of a great master ; and the last movement has no
superior, as regards beauty of melody, and the effect resulting from in-
genious instrumentation. The symp&ony of Beethoven, in A, is, after
all, a motley production : it has many fine parts, and many eccentricities :
genius every now and then bursts forth with splendour, but a wayward
fancy is not less often apparent. The second movement, in A minor,
however, redeems every fault : for the sake of this exquisite composition,
we would gladly listen to ten times as many whimsicalities as are to be
found in the other parts of the work.

* With the advantage of such playing, the Quintet afforded the greatest
pleasure. Who like Cramer can touch the instrument ? The simplest
liotes under his hand become eloquent. Years pass harmless over him;
he is what he was when a young man ; and we wish that he would now
oftener play what he wrote in his earlier days, — his favorite concertos,
and some of his grand sonatas. The overture to Les deux Joumkes is
second only in popularity, not in skill, to the author's Anacreon, This
strikes at once ; that requires to be heard twice at least before its beau-
ties disclose themselves. Both are chefs-d'oeuvre.

The Cantata is one of the pieces composed under an engagement with
the iociety, therefore, probably, not the product of a moment of inspira-
tion. To write to order is like endeavouring to say a witty thing by
desire ; Apollo may not be willing in the one case, or Minerva in the other.
We view this work as a study, and as such it redounds to the author's
credit. We cannot say that it exhibits many original traits, but it is
free from fault, except that the two recitatives and the solo are some-
what heavy. Mr. Bishop has not, it has been said, been led by the
wprds into the trap which would have ensnared most of our composers, —
a veiy just remark, for which we are indebted to the Spectator y — but
fwems to have read carefully, and understood thoroughly, the poetry he
has selected. The Quartet, what the Germans call a Chardl, is very
Bwect harmony ; and the final chorus, a laboriously-worked combination
of instrumental and vocal effect, attains a grandeur which has not often
been exceeded. Great justice was done to this in the performance, so
far as the number of voices would allow, which, had there been room in
the orchestra, would at least have been doubled, we presume. This
iKKork was received with the most marked applause by the whole room.

The Trio and Quartet — both beautiful compositions, but should enjoy a
littie fallow, were sung in a very respectable manner.

Signor Masoni, whose arrival here had, as is too usual in such cases,
been preceded by reports which led the unwary to expect an eighth
wonder, was introduced to the public at the present concert. His re-
qiiest to play a composition of his own not having been acceded to, he
edected a concerto, which, both on account of length and want of sub-
stance, was but ill calculated for the occasion. Whatever laurels he
might have reaped from a better-chosen work, it certainly was not likely
that he would gather any from this, a fact which he must painfully have
discovered before he had worked his way through half of it. Signor
Masoni is a master of his instrument : his tone is full and pure, and his
execution, if not quite so finished as that of some plavers, is bold and
brilliant. His defects are, a too frequent recourse to the highest notes
that the first string is capable of rendering — squeaking sounds, which
may astonish some, but create pain in most — and an almost incessant
lite of the slide, or drawing the finger along the string. A little of this
gives expression, but where redundant it becomes a whine, and almost
leads fanciful people to ima^ne that the catgut in its artificial condition
feels some of the griefs which it had experienced in its natural state.
We before had witnessed the performance of this artist in private, there-
fore can say that he was not now heard to the best advantage.

SECOND CONCERT, MONDAY, March 17, 1834.
ACT I.

8iaCMia,N«.a BaKTHonm.

Dudto, MadHM Candori Allan and MiM Clam NoveUo, 'Nel »

giomi ttioi felicL' . J ^*^^^^'

N6netto, Vwlin, Viola, Violoncello, ContrarBaaso, Flnte,'oboe,

Clarinet, Baaioon, and

Dragonetti, Nidiolten,

^I*l»tt.

Bosalba, a Dramatic Cantata, for Six Voicea, Miaa Clara No?eUo,^

• • • • • . • ./
, Voloncello, ContrarBasso, Flnte, Oboe,\
nd Horn, Messrs. Mori, Moralt, LindleyJ
n, G. Cooldb, WiUmaa, Mackintosh, andf

• • . • • • . •/

Spobb,

Mrs.H.R. Bishop, Mj. Hor|»castl«. Mr.^nnatt, ami Mr. A- Np-I ^ w_..^
veUo. Conaposed ezprenly for the Philharmonic Sodety, and first f ^- JNovsllo.
time of Periormance . . 1 j

velli^ Composed ezprenly for the Philharmonic Sodety, and first

time of Periormance . '. •

Ow9te%(7WAcJSrro/lA«4nr«r«.) • • « « CBlYoif Wsibb.

ACT U.

Sinfonia (inD)

dao?' Miss Clara KofsIUv Mc Beaaefct, Mr.l w«.*..
Chapman, and Mr. A..No«no .,.../ J >«<»**«•

Fantasia, Oarinet OUligato; Mr.WnxMAN « • ' ^ CM. VoirWaaBk.)

Aria, Madame Caradori Allan, < Gran Die!' {Romeo e GnUieita^) Guoubud. j
Overture. {FanUka.) •••••••« Cbbrvbimx. ^

Leader, Mr. F. Cramer. Conductor, Sir George Smart.

Beethoven's Symphony, in F, is one of his works which require to be
heard twice or thrice before it is thoroughly understood. We freely
acknowledge that at first it was to us a mystery, which repetition alone
explained ; but it discovers numerous charms after acquaintance, though i
not unmixed with bizarreries. Mozart's in D, the weU-known sym-
phony, concerning which there is but one opinion, was much hurried at *
setting out, a fault exactly on the wrong side. It is scarcely injurious
to accelerate a littie during the progress of a quick movement, very detri-
mental to be obliged to retard. Weber's Overture, which exhibits in
every bar the originality and energy of the composer's mind, was ad- *
mirably performed. The Faniska answered very well the purpose of a.
finale: it is not devoid of a good subject, but this is managed in a trifling
manner. There is a want of Uie author's usual breadth in the wh(^
composition.

What we have observed, as prefatory to our remarks on Mr. Bishop's
Cantata, applies with equeJ force to Mr. Novello's : but we do not mean
to institute any comparison bet\ieen the two, they are widely diflerent in '
character, and were not competitors. The Dramatic Cantata is certainly
put together in a musician-like manner ; the parts are more or less melo-
dious and vocal ; the words are carefully set, and the whole, though some-
what tame, is graceful ; but it is so obviously an imitation of Mozart, the
structure of the phrases, the cadences, the modulations, are so palpably
the result of an intimate acquaintance with his works, that we were ^
tempted at almost every close to salute the music with certain bravos, >
in the manner practised by the Italians. This is rather selecting and
adapting than composing : notwithstanding which we mos( willingly give
every praise due to the author for the taste he has shown, and heartily
wish we w^re able to say that invention is to be reckoned among the
attributes of his composition.

The duet of Paisiello promises well at the beginning, but the subject
is too much dilated, the latter part is spun out to feebleness, and should
always be curtailed. The' manager of a concert ought to keep one im-
portant fact in view, namely, that in being invariably true to the text of
long gone-by composers, he will now and then prove most injurious to
their fame.* Why not sometimes abridge ? Why not occasionally in- ,
vigorate the score ? Mozart' infused a new spirit into the Messiah by
his additional accompaniments, the adoption of which was for many
years resisted by the musical bigots of this country ; 'and there are supe-
rior compositioils in great abundance, by the old masters, which, if only
adapted to present circumstances, in tlie manver in which the authors
themselves would adapt them, were they living, would come out fresh,
and afford as much pleasure to the present age as they imparted to that
long since passed away.

The quartet,. *Che Diro?' is all gentleness and sweetness: it is
rather in tte Italian style, but the rich and fertile imagination of the ,
great German master is continually apparent. Madame Caradori sang
in a highly correct, in an elegant manner, an air which we had heard
before, but are not extremely anxious to hear again. Spohr*s Nonetto
is one of his most fortunate works : it is a beautiful symphony in mi-
niature, and was executed with a precision and delicacy that, we are
persuaded, no other set of performers, however and whencesoever
chosen, could have exceeded.. The Fantasia proved the greatest
novelty, perhaps the richest treat, of the evening. We have never yet,
any where, met with Willman's equal on the clarinet, and we"" never
before heard any composition for the instrument so profoundly expres-
sive as the adagio forming the middle movement of this; a striking
feature in which is, the accompaniment of the horns, muted^ (^con sor^ '
dinif) producing an effect as excellent as new.

REVIEW.

It is far from our intention to review one-half, or even one-quarter, of ,
the music published, should the quantity in future brought out be as
great — which, however, we think improbable — as heretofore, but what '
is really good, that which contains internal proofs of being likely to be-
come permanent, will always command our attention, whoever may be
its author. The name of a reaily eminent composer must, of course,
operate as an inducement for noticing his publication, fdr he is, ai all
others, entitled to praise when due, a^d, op accpunt of the influenoe of
his example, anaong «other reasons, ought and must submit to censure
when deserved. It will be our aim to encourage and bring forward the
talented but unknown professor ; and,' considered as composers, we shall
draw no line of distinction, not being aware of any, between the amateur
and professional, musician. An attempt was made to crush Byron, on
his first appearance ae a poet, because he happened to be a Lord, and
had his spirit not been equal to his genius, it is probable that he would
have been lor ever silenced. The more amateurs the better for the art,
and for all .who live by it We know that the number has increaaed,
is increasinff, and ou^^t not to be diminished^ and they may rest aasored
that they shall meet with all the support from us that the nature of our
work wdl admit and reason justify.

.THE MUSICAL LIBRARY.

'11

Grpsham Prize Ccmpositionf "^o, 2* Anthem, * Turn thee again,
, P Lord!' Composed by Kellow J. Pyb, of Exeter ^ Member of the

* Royai Academy of Music, (Novello.)

* A ZEALOUS admirer of cathedral music — said to be a very distinguished
•and venerable professor — in order to promote, as far as lay in his power '

this class of composition, instituted, in the year 1831, a prize of a gol
medal for the ' best Original Composition in Sacred Vocal Music,

.'either Hymn or Anthem, the words to be selected from the canonical
Scriptures, Apocrypha, or Liturgy of the Churh of England, and to be
set for three, four, or five Voices, with a separate Part for the Organ.'
That encouragement of this nature should have emanated from an indi-
vidual', from a musician, who could have had no direct interest in the
matter, while deans and chapters, whose business it surely is to assist

"in advancing that which forms so essential a part of their church ser-
vice, remained in a state of apathy, seems a little extraordinary. But
no matter : the greater the praise of him who showed them the path of
their duty, whether they follow it or not.

The first prize thus liberally offered, was adjudged to Mr. Hart, for
an anthem. That which gained the second is now before us.
* We are advocates for preserving the style of our cathedral music,
which acts by association on the feelings of so many ; and to association
may be ascribed much of the effect of modulated sounds. Mr. l^^e
appears to entertain the. same opinion. He has copied none, has imi-
tated none, but the general character of his work is in unison with
that of the best of our ecclesiastial composers — a fact which we consider

» strong evidence in favour not only of his judgment, but of his taste.
His anthem is for five voices, beginning with a chorus in d minor,
built on two subjects, in the fugue manner, grave, devotional, and agree-

. able to the ear. The second movement in f, a verse for all the voices,
is soothing and sweet, yet exhibiting, but not ostentatiously, all the art
of counterpoint. The last movement is a regular fugue, composed of
two subjects, though not what is properly called a double fugue. This
-will engage the attention of the partisans of the severe style, who will

'£nd no reason to be dissatisfied with such a specimen of musical learn-
ing : but it has nothing in it of that austere character which is so repul-

.aive to the great majority. In a word, then, this anthem is a proof
that what is scientific may at the same time be pleasing ; that it is
possible to conciliate the learned few, and satisfy the untutored many,

-by the Tery same musical means .

Grand March, for the Piano-forte^ composed by J. N. Hummel.
(Cramer, Addison, and Beale.)

Tnis, perhaps, Mr. Hummel may call a bagatelle. It certainly is not
•long, learned, or calculated to show forth great powers of execution ; but
it possesses superior qualities, it exhibits invention, is new, practicable
by all, and will gratify ninety-nine hearers out of every hundred. The
key chosen is not very conmionly used for music of this description, or,
indeed, any other, but some of the novelty in the present March may be
•ascribed to its being written in b minor.

DouzE Recreations Musicales. Twenty-four Airs, selected from
National Melodies y 8fc, of French^ German, and Italian Composers y
arranged as Rondos^ Fantasias, §-c., for the Piano-forte, by Henri
Herz. Op. 71, Bcfoks 1, 2, 3, and 4. (Goulding and D'Almaine.)

The difficult music of M. Herz has had its day, and, together with all
.compositions of the same character and substance, is fast retiring to
enjoy a lopg, a very long, night's repose. The taste of piano-forte
players is on the recovery : these begin to find out that it is possible to
be better employed than in practising ^ve and six hours daily for the pur-
pose of vanquishing passages that are worthless when conquered, and
which drive sensible people from the performer's presence. The reign
of good music is fast returning, and harlequinades, in all shapes, rapidly
disappearing. Skill on the piano-forte will again become the accom-
plishment of liberally-etlucated people : it has latterly partaken more of
the nature of that sleight-of-hand which is so very becoming in those
who travel with cups and balls in their portmanteaus, and a Merrj--
Andrew in their suite.

We notice these four books, not for the purpose of dwelling on their
contents, but because the author, whatever may be his merits, has
attained great celebrity ; and also to say, that he has here put in print
&ur-and-twenty arrangements that are easy, and well adapted to the
instrimient. Some of the airs, however, he has treated ia a manner
which, were they personified, they woidd speedily resent. What would
the tender, beautiful ' Last Rose of Summer* say, on finding itself cari-
catured in the form of a jig ?

1. The favorite Airs in Mt^yerbecr^s Opera of Robert le Diable,
arranged as Duets for tlio Harp and Piano-forte, by T. Labarre.
Op. 62. (Chappell.)

2. Taglioni's Shaivl Danc^ in La Bayadere, arranged as a Rondo by
the Same, (Chappell.)

Very little harp music has lately been published, and not any that is
original. M. Labarre, as one of the greatest harp-players in Europe,

claims our notice of his publications ; aiid wc are not inclined to pass
by anything in which the name of the gentle and gracefol TagHoni
is mentioned.

The * Airs' from Robert are but two, and one of these is not to }\e
counted among the best in the opera ; but both are easy for the per-
formers. The Shawl-dance, in the Sfianish style, is pretty, and invitiiig
to those who like what gives them little trouble ; but it will chiefly
please by calling up the sylph-like motions, the air-treading steps of ttie
danseuse who has turned the heads of the public by * the poetry of Imt
heel.' .

GUSTAVUS the THIRD.

An Opera composed by Auber, and adapted to tlie English stage &/
T. Cooke, The {^English"] words by /. R, Planche. (D'Almwne.);;
We doubt whether any opera since that by Gay ever had such a run ^
Gttstavus tlie Third, and are convinced that no part of the drama,
and very little of the music, will be heard of three years hence. Theije
must, nevertheless, be merit in both, of some kind or other, or the piece
could not have been so successfully carried through such a number of
representations. Puffing will do a great deal, but puffing alone would
not have forced an opera on the stage between sixty and seventy times
during the short interval of a few weeks. Much of its success, however
— and the truth must be told — is attributable to the masquerade scene
and the galop ! Yes — huge theatres have brought us to this : music,
dancing, and spectacle, are the exclusives of the two great national
stages.

We have now before us nine songs, a duet, and a chorus, from thjs
most popular work, and will not detain the reader longi n conmiunicating
to him our opinion of them severally. But first we will say, generally,
that the most attractive quality in this music is its vivacity, Auber*s cha-
racteristic; it never drags, and the hearer has no time to inquire
whether what so quickly passes is or is not new, or whether it
can stand the test of examination : to * keep moving,' and to afford no
moment for reflection, are its rules. Auber is writing too fast, and over-
drawing his imagination ; he is beginning to re-produce himself. Much
in Gustavus will bring to recollection Fra Diavolo and Masaniello,
He perhaps may say that he is striking while the iron is hot : but has be
not heard of him who avariciously ripped up the bird that daily deposited
golden tributes ? — But, to the songs.

* When Time hath bereft Thee,' from a subject in the overture, is
pleasing and not common. A quaint sharp 5th here will at first seem
an error of the engraver.

The masquerade-song, * From me you nought shall learn,' is lively,
not very new. * Hove her, how I love her,' is, deservedly, one of the
favorites of the opera. ' Answer, mighty Sorceress,' is spirited, and well
suited to the scene. * Love, I abjure thee,' has not an original note to

recommend it. * Monarch of,' dare we wTite the word ? — ' hell,*

is very dramatic, but only calculated for the stage. The English words
to this are very unskilfully set to the music. * Peace within the Grave,'
quite a drawing-room song, is melodious, graceful, and easy. *To read
the Stars pretending,' is distinguished by its triteness. ' Tlie invitation
to the Ball ' is exceedingly admired : it is sung with great animation By
a pretty woman, and its rhythm is distinctly marked, but the striking
features in the air have been exhibited m')re than once before by the
composer. The duet, ' Oh ! Gustavus, my noble master,' is the befet
piece, considered as a composition, of all that we have seen : we will npt
say heard, for we listened to a finale of a suj)erior order, which, if pub-
lished, has not reached us. The duet .is for a tenor and base, though
treble voices may sing it, but with less effect, we need not say. In the
chorus, ' Long live the King! ' is an air, one comprehensible by the crow^,
and this has conferred popularity on it : considered musically, a move
trifling, jejune production never was heard on the stage. The wood-ctlt
of Lc Bid Masfpie, on the back of it in its published form, is Worth nine-
tenths of the sum that ought to have been the marked price of the whole
chorus.

FOREIGN MUSICAL REPORT.

[In fumi?hing our readers with a Monthly Foreign Musical Report, we
propose to bring under their observation a general view^ of the state
and progress of the musical art abroad, giving a brief account of the
operatic representations and musical occurrences worthy of remark in
the various continental towns, and noticing the singers and instru-
mental virtuosi of estal)lished fame, and the d^'buts of such as may
from time to time enter the musical world. We shall also advert to foreign

THE MUSICAL LIBRARY.

musical productions of novelty and importance, and present such
intelligence respecting celebrated continental composers, and infor-
mation as to tne reception of their works, as may in any way be
interesting ]

VIENNA.

HofopertUheater. — ^The operas lately performed at this theatre have
been Robert der Teufelf Fra Diavoio^ Die heyden Hofineisier (the Two
Tutors), Der Lugner und Sein Sokn (the liar and his Son), Der Bar
and der Pascha (the Bear and the Pacha), and Der iodte NeJ^e (the
Dead Nephew), besides the following, in which M. Pezold sustamed the
principal characters, Die Stumme von Porticiy Johan von Paris^ Fidelio^
Don Juan^ Der Barbier von SevillCy and Der Vampyr, Mdlle. Elmes
made her first attempt as Rosina in Der Barbier with tolerable success ;
Mr, Wurda, from the Court theatre at Strelitz, has also been well re-
ceived here.

Josephstddter Theater. — At this theatre Mercadante*s Eliza und Clau-
dio has been produced in Germany ; the parts of Eliza^ Sylvia^ and
Charlotte were well sustained by Mdlles. Segatta, Dielen, and Kratky ;
MM. Pockh and Preisinger were also excellent. Die Weisse Frau
(La Dame Blanche) and Der Freyschutz have been subsequently given;
and still more recently Kapellmeister Conradin Kreutzer's new opera,
Das Nachtlaaer in Grenaddy (the Night-quarters in Grenada,) which
was produced for the first time on the 14th January, and was very fa-
vourably received, the composer being called forward at its conclusion.
M. Pockh acquitted himself admirably in the difficult part of Max^
which affords great opportunities for display. The music is charac-
teristic, and contains many very effective pieces.

BERLIN.

Konigliche Theater, — On the birthday of the hereditary prince, He-
Told's opera Zampay which had been laid on the shelf, was reproduced
with a fresh cast of characters, but failed to create any sensation. Die
Stvmrne von Portici has also been given.

KSnigsstadi Theater, — Here the performances of the Crociato (with
DUe. Stetter as Palndde) have given great satisfaction. The other
operas have been Semiramide^ Anna Bolena^ I Capuleti e Montecchi^
and Des Adler^s Horst (the Eagle's Eyrie) ; in the latter, which was
very successful here, Madame Schodel was much and deservedly ap-
plauded.

LEIPZIG.
The only recent novelty here has been the d«5b(it of Mdlle. Bilcker from
Mentz, who was well received ; she sings with much feeling, has an
excellent voice, and is moreover clever as an actress : her greatest hit
was in the character of Zerlina in Fra Diavolo. The theatrical produc-
tions have of late presented no features of interest ; Auber's Fcdschmun-
zcr (Le Serment, ou les faux Monnoyeurs) and Halevy's Ludovico^ newly
studied, being the principal attractions.

STUTTGART.

For a very long period, indeed, since the opening of our Court theatre in
the autumn, the performances have consisted of Die Stumme von Por-
ticif Figaro, Oberon, Fidelio^ Zampa^ Wilhelm Telly Don Juany and
other stock pieces, varied by the production of only two novelties,
namely Morlacchi's Tebaldo ed IsotinOy which, after two representations,
being received with indifference, was laid aside, and an operetta called
Lumj^ad Vagabundus^ by M. W. Miiller: in the former, the meritorious
exertions of Mesdames Haus and Wallbach were not wanting, but they
were of no avail; the music of the latter is very pleasing — it was well
received.

Besides the singers forming the company of our opera, we have had
for a short time M. Russner, a tenor singer, formerly of the Hesse
Cassel theatre, but now engaged in Darmstadt. He has appeared as Otello
and Almaviva. His voice is tolerably strong, and particularly clear in
the upper notes of his falsetto, which blend with his chest-voice in a
Mitisfactory and pleasing manner.

We anticipate the speedy production of Meyerbeer's Robert die
Teufel; and Kapellmeister Lindpaintner has composed a new opera. Die
Freunde (the Friend), which will be studied forthwith.

DRESDEN.

The Italian Opera here is much frequented, Madame Schroeder-Devrient
being the grand attraction. Her most successful character is Romeo in
Bellini's Vapuleti e Montecch ; and, when enthusiastically called for-
ward, she never fails to bring Mdlle. Schneider {Giulietta) to share
the honour with her.

Among the various artiste who have lately visited us, none have
created any sensation except Mdlle. Hill of the Frankfort National
Theatre ; she gave six peiformances, three in the Italian, and three in
the German opera.

PRAGUE.
Des Adler*s Horst was brought forward for the first time on our stage,
for the benefit of M. F. W. Pixis, director of the orchestra. Its repre-
sentation was awaited with considerable curiosity, as the opera, though
it had failed in Vienna, had been received with much applause at Berlin,
licipzig, and Dresden ; the Prague audience, however, has confinned
the sentence of the Viennese. The work, though not abouxnding in original
ideas, is not without merit ; the overture is the weakest part of the
opera. That it was not more successful, was by no means the fault of
the singers; these were Mdlles. Lutzer and Uned, MM. Deska and
Strataky: the choruses, however, were inefficient, and the otherwise
excellent orchestra was not altc^ther blameless on this occasion.

Mdlle. Veltheim, of the Dresden theatre, has appeared here in three
characters, Rhezia in Oberon^ Donna Anna and Constanza in Die Ent-
Juhrung aus dem Serail (the Seraglio). Her performances gave satis-
faction — had she been more sparing of embellishments in the style of
the old school, they would have been admirable.

Otello and Fra Diavolo have been given, with Mdlle Lfitzer as Des-
demona and Zerlina, This lady has also appeared as Giulietta in
/ Capuleti e Montecchi^ Madame Podhorsky taking the part of Romeo.

THE THEATRES.
King's Theatre.

This place should, for the present at least, not be called the Opera,
but the Ballet House. An opera, it is true, is performed, but in such
a manner, that it is tolerated like a dull prologue to a good play, for the
sake of what is to follow. Madlle. Taglioni has been the attraction,
the only one, so far as the season has proceeded ; and if the patrician
order, the upper classes, of a nation which boasts ita intellectuality, can
be satisfied with dancing alone, however excellent, the manager would
be imprudent indeed were he to go to the price of better singers than
Mesdames Feron, Kynterland, and others of the same rank who have
hitherto appeared. There are, we admit, Zuchelli, and also Curioni,
but both seem depressed, the latter especially, by their associates ; and
we deem M. Laporte extravagant in having engaged these, seeing that
there are others in the establishment who would have been more on
a level, would have formed a better ensemble ^ with the ladies above-
named, and have proved quite as satisfactory to the public. However, on
the night previous to the closing of the house for Easter, on Satur*
day, the 22nd of March, Mad. Caradori was presented to the sub-
scribers, in the character of Rosina^ in // Barbiere di Sivigliay and amidst
so much musical darkness, shone like a star of the nrst magpiitude.
But she monopolized all the brightness. Sig. Zuchelli is certdiinly not
exactly formed for the part of Figaro ; and as to Curioni, he made the
most unhappy Count we ever witnessed on this stage. He should have
taken any name but that of Almaviva, We are promised a strong
operatic force after Easter; — a Signora Grisi, who, according to custom,
is heralded by one or two papers as equal, if not superior to all that has
gone before ; and a Russian tenor, who has not been less lauded than
la Grisi. We hope that he will prove more agreeable than the Russian
spring, which seems to be his avant-courier, and has brought with it
catarrhs enough to choke all the singers and shut up all the Opera-
houses in Europe. Of new operas in expectancy, we hear but of one,
— by Donizetti, a name peculiarly unpromising to the lovers of good
music. But, as we have just remarked, it is no matter : if the sub-
scribers and the public are content to pay the highest price for the
worst performance, the entrepreneur would be a traitor to himself to
incur the expense which a better corps de Popera would necessarily
entail on him. As to better music, that might be had without any
cost: there are operas enough to be found that would supply the
theatre with novelty, and of a superior kind, for years to come.

Drurt-Lanb and Covbnt-Garden Theatres.

Mr. Bunn is pursuing a most successful career, for which he is in-
debted to his activity and penetration. He at length, but not till losses
had taught him wisdom, discovered the true tendency of the public
taste, which was in favour of novelty, and by importing from our neigh-
bours a better commodity than could be furnished here, has pleased the
town, and filled his treasury in a manner that must have astonished the
strong-box of the theatres, which has long been unused to see the
glorious engraving on bank paper, and hear the delightful music of
chinking gold. After the 70th (or thereabouta) performance of Auber's
GustavuSy it is too late to speak of it here ; and the Minister and the
Mercery St, George and the Dragony and The Revolt of the Harem^
though all excellent in their way, are not musical pieces, therefore do
not come under our notice.

LONDON : CHARLES KNIGHT, 22, LUDGATE-STREET.

Printed by WILLIAM CLOWES, Duke Street, Lambeth,

MUSICAIi lilBRARY.

No. II. MAY, 1834. Price Sixpence.

TRie Miisic of ' Part II.' . • • .13
Musical Feitivals in Westminster Abbey . 15
York, Birmingham, Norwich^ and other Fet-

fivab 17

Ifusical Festival at Aix-UpChapelle • 17

CONTENTS.

Concerts— The Ancient

• The Philharmonic

Madri^l Society
Pagamni's Concerts

18
19
20

Review • . •

Diary of a Muiical Amateur
Foreign Musical Report
The lliama « •

22
24

THE MUSIC OF PART II.

RONDOLETTO, ROSSINI AND SlEBER — (Page 17).

This is Fiaaro's very original and animated air in II Barbiere di
Siviglia, ' Largo al factotum/ converted into a Rondo, — in which
the character of the instrument is duly consulted, — by a German
composer whose name is new to us. His merit is, having pre-
served as much of the original composition, without scarcely any
alteration, as was consistent with his design. He has taken away
nothing, and added little, — just as much as the change from a
vocal to a piano-forte piece rendered necessary.

Andante, Paradies — (Page 21).

The present short but most melodious movement, of a composer
once very popular in London, is from twelve sonatas, published here
about the middle of the last century, which were the admiration,
as well as the study of all the good harpsichord players of that
period. We must, however, confess that, with the exception of this
Andante, and one other movement, we have in vain sought, in the
whole of the work, for the beauties which formerly were so
apparent in it. But beauty is a term sometimes employed com-
paratively, and, compared with most of Domenico Scarlatti^s les-
sons, all of Albert!, some by Handel, and others in use about the
same time, those of Paradies may have appeared to possess charms
which are not so discernible in this age.

DOMENICO PARADIES,

A Neapolitan, arrived here. Dr. Bumey tells us, in 1742, and set
an Italian opera, which possessed no merit. * During his resi-
dence in England, he acquired more reputation by the lessons he
pubUshed for the harpsichord, and the scholars he made on that
instrument, for which he was an admirable master, than by his
vocal compositions. His litde scholar, Frederica, afterwards
Mrs. Wynne, gained him so much reputation as a harpsichord
master, that he was appointed to instruct the young princesses,
at Leicester House.' — Rees^s Cychpadia, Art. Paradies. Dr.
Bumey, in about the year 1808, writes as if he were addressing
himself to the contemporaries of George IL

Air, 'Chantons l'Hymen,' with variations by Dussek —

(Page 22).

There is an elegant vivacity in this air which accounts for its
having so long been admired, and will always save it from be-
coming obsolete. Thus treated, and exhibiting nothing in the
shape of difficulty, — ^no harmony or modulation of a recherch^e
kind, it may be deemed a bagatelle, but it is a trifle that always
does, and always will please persons of unsophisticated taste.

JOHANN LUDWIO DUSSEK,

born at Czaslau, in Bohemia, in 1760, received a literary educa-
tion in the University of Prague, where he at the same time stu-
died music under a Benedictine friar, and adopted this art as
his profession. At the age of nineteen he travelled into the north
of Europe^ and became acquainted with Emanuel Bach^ at Ham-

burg, by whose advice he profited much as a performer. After
staying two years in Lithuania, with Prince C. Radzivill, he went
to Berlin, and thence to Paris, where he lon^ remained ; but at
the beginning of the revolution, prudently quitted that city, and
came to London, which metropoUs he did not quit till 1800^
when a not very fortunate marriage, and a still less fortunate
speculation in trade with the father of his wife, obliged him to quit
England. He then repaired to Berlin, and became the intimate
and confidenUal friend of Prince Louis Ferdinand of Prussia, a
distinguished amateur, who died so bravely in an engagement
with the French army, in 1806. After the death of this gallant
and accomplished prince, Dussek entered into the service of
the Prince Talleyrand, in which he continued till the end of his
life, in 1812. He composed much, and produced some of the
best works for the piano- forte that the art can boast; though
he published many things rather with a view to profit than to
fame. Both in this country and in France he was considered the .
greatest piano-forte player of his day. ' It is no ordinary praise
of him to say,^ observes his biographer in the Harmonicon, * that
many able judges have ascribed in part the great refinement of
Cramer to the opportunities he had of hearing his friend's exqui-
site performances on an instrument that afforded them both so
many triumphs, but has never yet produced them an equal.'

A Selection from Beethoven^s Septet, arranged for the
Piano-Forte and Flute — (Page 25).

The admirable Septetto of Beethoven, his op. 20, is written for
violin, viola, clarinet, horn, bassoon, violoncello, and double-base,
and consists of no less than ten movements, one of which, however,
a long adagio, is always omitted in public performances. We have
selected rather less than one-third of the work for our present
purpose, and in fact have thus taken nearly the whole that is
adaptable to the two instruments, and to performers in generaL
The time of each movement, indicated by MaelzeVs Metronome,
is copied from the composer's own marks. To that of the Scherzo,
page 31, we have put a note of interrogation, doubting whether
it is not a mistake. At all events, we advise the piano-forte player
not to attempt a greater degree of quickness than is denoted by
the metronomic number 100,

LUDWIG VAN BEETHOVEN

was born on the 17th of December, 1770, at Bonn, where his
father and grandfather were both principal singers in the Elector^s
chapel. His father, who was too much dojroted to the rites of
Bacchus, neglected his education, and the first instructions he
received in music were from Neefe, organist to the court. He
afterwards went to Vienna, and studied composition for a short
time under Haydn; but this great master was bom to compose,
not teach, and he discreetly made over his punil to Albrechts-
berger, who was born to teach, not to compose. We then returned
to Bonn, though he soon obtained the Elector's permission again
to visit Vienna, where he finally setded, and we believe never
quitted that dty and its environs during the remainder of his life.
He was once strongly solicited by Jerome Bonaparte to become
Mae$tro di Capella to the new court of Westphalia, but the arch-

THE MUSICAL LIBRARY.

duke Rudolph, influenced more by shame than any better feeling,
settled on him an annuity, on condition of his not quitting the
Austrian dominions without permission. The Philharmonic
Society of London offered him an invitation to this capital, and
he was on the point of accepting it, but his' increased deafness,
-which had rendered it impossible to converse with him, except in
writing, prevented his undertaking so distant a journey. His
•works are exceedingly numerous, but no record is left to tell us
when and for what purpose composed. His temper deterred his
friends from much intercourse with him, and his infirmity no doubt
contributed much to his apparently unsocial disposition. His
greatest works — and in these who has excelled him ? — are his
symphonies and overtures. When it seemed that his two great
predecessors, Haydn and Mozart, had exhausted all the mate-
rials that fancy and art were able to supply, his imagination
* created new,' and in devoting his powers to the same kind of
composition in which his illustrious countrymen had shone with
80 much brilliancy, he never made himself their debtor for a single
thought. He immediately followed them too in quartets, quintets,
and sonatas, songs, cantatas, &c., but without ever borrowing
from them, intentionally or by accident, an idea. Beethoven died
cf dropsy at Vienna, on the 26th of March, 1827, and received
more honours at his funeral than ever were bestowed on him
while living !

Overture, 'Joseph ' — Mehul — (Page 34).

The sacred opera, or oratorio, of Joseph, o» Jaccb et ses Fils en
JEgipte, which has earned so great a reputation on the continent,
was translated and prepared fbr representation at Covent Garden
theatre, during the last Lent, when the Lord Chamberlain, on the
showing of the Bishop of London, forbade any dramatic per-
formances, and thus drove many hundreds to seek much less in-
nocent amusement than a well-regulated stage affords. This
overture is scarcely, if at all known in Engbuid, but abroad is
cne of the favourite works of a composer with whose productions
we shall become better acquainted in this country when our pre-
judices, now on the wane, against all French music have entirely
sabsided.

ETIENNE HENRI HEHUL.

This very distinguished composer was bom at Givet, in Belgium^
in 1763, and studied counterpoint under Henser, a learned Ger-
man. He went to Paris at the age of sixteen, and placed himself
imder the direction of the celebrated Edelmann, who commu-
nicated to him much of his knowledge, and no little of his enthu-
siasm. But he was more indebt^ to his acquaintance with
Gluck fbr that skill in composition which he soon displayed, than
to any other school or master. His first work,' Eupnrosine et
Coradin, proved most successful ; and not less so his Stranonicej
which critics consider as his masterpiece. The period of the
PVench revolution compelled him to waste much of his time in
writing pieces of temporary interest ; but he redeemed himself in
his Jeune Henri^ his Deux Aveuales de Tolede, his music in La
Dantomaniej and more especially by his Joseph, produced in
1816. He died the year after, leaving his Valentine de Milan to
be finished by his nephew, M. Daussoigne, who brought it out
most successiiilly in 1822.^^

Pastorale — Corelu — (Page 38).

The most famous of this celebrated composer's works is the Pas^
torale trom his Concerto V III., written for Christmas-Eve ; or,
as the author expresses himself, ' Fatto per la Notte di Natcde.*
The time adopted in this — ^twelve-eight — has not a little kept
it out of genial use ; and to remove what to most is a difficulty,
but without altering one iota of the composition, we have di-
vided each bar into two parts^ thus convertmg twelve-quaver into

* 'Mehul wai offered this appomtment of maiire de ehapeile to Napoleon, oa tlie
4l6tA of Paisietto. Tile Emperor, who had ■hreadv leltled on him a pension, sent
Dufoe, Grand liarescfaal of the palace, to inform him that it was hit (Napoleon*a)
intention to place him at the head of his music. Ever alive to the interests of his
friend Gherubini, Mehul reouested tiiat he might be permitted to share this office
with his brother composer. Napoleon, instead of noticing this wish in the way that
rifffat feeUng would have dictated, was indignant at what he haughtiijr considered to be
a liberty taken with him, and said in bss usual hasty manner, '< What I want is a matire
de chapeUe who will make music, and not noise," and instantly nominated M. Sucux,
thiB well-known author of Lee Airdtfv.'— ^Cherabini had rather sharply replied to an
obeervatienmadetohim by Napoleon, at Yienna, which the military tynat never
foigsveu' (^Harmomcom,')

six-quaver time, a change literally without a difference, except
in appearance, and in the facility it offers to the performer.

▲SCANGELO CORELU,

whom the Italians call U divino, was bom in the Bolognese ter-
ritory, in February, 1653. His instructor in harmony was
Matteo Simonelli ; on the violin, Giambattista Bassani. In 1680
he travelled into Germany, where he was received in the most
honourable manner l&y all, especially the Elector of Bavaria. In
1683 he published his first Twelve Sonatas; in 1685, his second
set; in 1690, the third; and the fourth in 1694. His solos
are a work which all the greatest masters have placed before
their pupils for the purpose of forming the hand. Tartini
grounded his scholars in these ; and Giardini considered them
absolutely essential to those who would successfully cultivate the
violin. They still retain their reputation with those teachers
who know how to discriminate, and are not beguiled by novelty
or fashion.

His greatest work is his Twelve Concertos, composed many
years before they were printed. In 1712 they were engraved at
Amsterdam, but the author survived their publication only a
few weeks. He died at Rome on the 18th of January, 1713-
His property, which at that time, and in Italy, was considerable
amounting to six thousand pounds sterling, together with some
fine pictures, he bequeathed to his patron and friend. Cardinal
Ottoboni, who, however, retained only the paintings, and distri-
buted the money where it ought at first to have been left — to the
testator's poor relations. Corelli was remarkably gentle in tem-
per and sensitive in his feelings. His nervousness in performing
led many to believe, and some unfairly to report, that he was
not very skilful as a practitioner. A story is told t« his disad-
vantage, of his once mistaking the minor for the major key,
while performing a piece by Alesandro Scarlatti, but wluch only
proves his want of presence of mind. Another is related which
strongly marks .the mildness of his disposition, and the roughs
ness of HandeFs. While the latter was visiting the Cardinal
Ottoboni, at Rome, a Serenata, 11 Ttionfo del Tempo, was per-
formed, in compliment to its composer, Handel. The style of
the overture was new, and Corelli perhaps tried to modify it
according to his Italian taste: something, however, displeased
the composer, and he snatched the violin from Corelli*s hand^
who observed, i^ith great gentleness, ' My dear Saxon, this
music is in the French style, which I do not understand.' (Aftb
caro Sassone, questa mudca e nello stilo Francese, di chi to non
m* intendo.)

Serenade — (Page 21).

Pack clouds away, and welcome day,

With night we banish sorrow ;
Sweet air blow soft, mount larks aloft,

To give my love good-morrow ;
Wings from the wind to please her mind.

Notes from the lark ril borrow ;
Bird prune thy wing, nightingale sing.

To give my love good- morrow !

To give my love good-morrow.
Notes from them both I'll borrow.

Wake from thy nest, robin-red-breast,

Sing birds in every furrow ;
And nom each hill let music shrill

Give my fair love good-morrow !
Blackbird and thrush, in every bush.

Stare, linnet, and cock-sparrow !
You pretty elves, amongst yourselves.

Sing my fair love good-morrow !

To give my love good-morrow.
Sing birds in every furrow !

These verses are from The Rape of Lucrece, a tragedy by
Thomas Heywood, printed in 1638. The author was a most
voluminous writer of plays, and an actor, during the reigns of
James I., Elizabeth, and Charles I. He was a contemporary of
Shakspeare, and performed in his plays. Charles Lamb calls
him * Si prose Shakspeare,' and seems to think as highly of his
talents as did Langbaine.

The music, by Mozart, is the 27th of his xxx Oesaenge, or
German songs, to which the above words seem pecmiarly
adapted.

THE MUSICAL LIBRARY.

Song — Jephtha's Daughter. — (Page 22).

Since our country, our God — Oi ! my aire !
Demand that thy daughter expire !
Since thy triumph -was bought by thy vow —
Strike the bosom that's bared for thee now !

And the voice of my mourning is o*er,
And the mountains behold me no more :
If the hand that I love lay me low.
There cannot be pain in the blow !

And of this, oh, my Father ! be sure —
That the blood of thy child is as pure
As the blessing I beg ere it flow,
And the last thought that soothes me below.

Though the virgins of Salem lament,
Be the judge and the hero unbent !
I have won the great battle for thee.
And my father and country are free !

When this blood of thy giving hath gush'd.
When the voice that thou lovest is hush'd,
Let my memory still be thy pride,
And forget not I smiled as I died !

The words, which we have adapted to the air, are from Lord
Byron's ' Hebrew Melodies/ six of which have been translated
into Grerman^ and so set to music by Lowe, this being one of the
set.

CARL LOWE

has only lately appeared in Germany as a composer, and judging
from the work just named, as well as some other compositions by
him which have reached us, he possesses a rich imagination,
great energy, and is a most skilful harmonist. He is, we are
informed, of the order of the priesthood, but having withdrawn
from the duties of that profession, has been appointed music-
director at Stettin, and devotes himself almost exclusively to
music, of which, should he proceed as he has begun, he pro-
mises to become one of the best supports and greatest orna-
ments.

In our last, we overlooked a song by M. Lowe, originally
published, with German words, in the Allgemeine Musikalutche
Zeitung {Oerman Musical Gazette); a composition that first'
made us acquainted with the name of the author, and, brief as it
is, struck us so forcibly as to lead to our [making active enqui-
ries concerning him and his other works.

Canzonet — (Page 25).

The season comes when first we met,

But you return no more I
Why cannot I the days forget

Which time can ne'er restore ?
O ! days too fair, too bright to last,
Are you indeed for ever past ?

The fleeting shadows of delight

In memory I trace,
In fancy stop their rapid flight,

And all the past rephice.
But oh ! I wake to endless woes.
And tears the fading visions close !

These words, as well as the others of the first six canzonets of
Haydn^ were written for him by Mrs. John Hunter, the wife
of the most celebrated of English surgeons, and sister to a very
distinguished one, the late Sir Everard Home.

The music is Haydn's, the second of his first set of six canzo-
nets, composed during his visit to this country, *in 1791. In the
course of this work we shall give all the canzonets, from both
sets^ that universal opinion has marked as the best. Of the
composer we shall make full mention most probably in our next
number.

Madrigal — (Page 28).

When flow'ry meadows deck the year.

And sporting lambkins play.
When spangled fields renew'd appear,

And music wakes the day, —
Then did my Chloe leave her bower

To hear my am'rous lay ;
Warm'd by my love, she vow'd no power

Should lead her heart astray.

Who the author of these lines is, we know not, and the m»
formation would be worthless if possessed. Hey are — ^the Rer.
Richard Webb, A.M., teDs us, in his ' Collection of MadriraU*
— ' extracted from the original books, as preserved in the Ma-
drigal Society ;' and were — ^we learn from Mr. Richard Clark's
volume, containing the words of glees, &c. — ^adapted to the music
by the late Mr. Robert Cooke. Such a confusion of tenses we
never before encountered ; and that a gentleman who must have
received an academical education — an A.M. — could have printed
them without a remark, is to xis quite inexplicable. Music>
however, covers a multitude of poetical frailties and grammati-
cal errors, and that of the present madrigal would make us bear
with even worse lines than the foregoing ; it is the most melo-
dious, the smoothest in its harmony, of all the compositions of
Palestrina with which we are acquainted. The original words
begin, * I vaghi fior', e Tamorose fronde/

GIOVANNI PIER LUIGI DA PALESTRINA,

A native of the ancient Praeneste, now corrupted into Pales-
trina, was bom, Andrea Adami calculates, about the year 1529.
In 1562, he became Maestro di Capella of Santa Maria Maggiore>
in Rome, and nine years after was appointed to the same high
office in St. Peter's, and enjoyed the favour and protection of
many popes, particularly Sixtus V. He died in the year 1594,
and his remains were honoured by interment in St. Peter*a
church. Upon his coffin was inscribed, Joannes Petrus Aloysiu^
PrcBnestinus Musica Princeps, Palestrina left a vast number of
compositions as proofs of his musical learning and industry, of
which Dr. Bumey procured a very accurate list from the libra-
rian of the Vatican: they consist chiefly of masses, motets
hymns, and madrigals.

Song— (Page 32).

! sing unto my roundelay,

O ! drop the briny tear with me ;
Dance no more at holiday,
Like a running river we.
My love is dead.
Gone to his death-bed
All under the willow tree.
Come with acorn-cun and thorne,

Drain my [pure] heart's blood away ;
Life and all its goods I scorn,
Dance by night, or feast by day.
My love is dead,
Gone to his death- bed
All under the willow-tree.

1 die, I come ; my true love waits.
Thus the damsel spake, and died.

This is a part of the minstrel's song, in Qiatterton's JBlla, the
pretended tragedy by Thomas Rowleye. The music by

STEPHEN PAXTON,

a stVeet composer, of whom nothing whatever is recorded,
except the years when he obtained prizes for his glees. In 1779,
he gained a medal 'for " How sweet, how fresh, this vernal
day!" in 1781, for *' Round the hapless Andre's urn;" and in
1783, 4, and 5, for a catch, a glee, ** Blest power!" and an ode.
He also composed " Go, Damon, go !" the answer to *' Tura
Amaryllis;" and " Upon the poplar bough," two admirable
glees.* He was a distinguished performer on the violincello,
and alternately with Crosdill, afterwards with Cenetto, played
first violoncello at the Ancient Concerts.

MUSICAL FESTIVALS IN WESTMINSTER ABBEY*

The ^reat success of the performances in commemoration of
Handel, in 17^, led the king (George III.), and indeed the
public generally, to wish that others of a similar kind should
take place annually, under the same venerable roof. It was
urged that the fame of their excellence had reached multitude*
of persons residing in distant parts of the country, too late to
enable them to partake of the pleasure which the concerts, con-
fessedly of so perfect a nature, afforded, and that those ought to
be allowed the same opportunity of indulging their taste that
had been enjoyed by the inhabitants of the metropolis. Mok-

* Harmonicon lot Sept. 1833.

c 2

THE MUSICAL LIBRARV.

over, that numbers of young persons were, year by year, coming
into; life, as the phrase is, who would feel a strong desire — a
desire which it would be right to gratify — ^to witness perform-
ances of the same description as those which they had beard so
loudly extolled. Accordingly, in 1785, a ' Grand Musical Fes-
tival in Westminster Abbey was announced, and* took place on
the 2d, 6th, 8th, and 11th of June, under the same patronage
and direction as before ; but the strength of the band was in-
creased by the addition of more than a hundred performers, as
will appear by the following statement^ published at the time.

Instrumental Performers.

Violins 103

Violas 28

Violoncellas 22

Double Bases 13

Horns 12

Trumpets 12

Trombones 6

Flutes 7

Oboes 26

Bassoons 27

Double Bassoon .... 1

Drums 2

Double Drums 1

Vocal Performers.

Sopranos 77 Tenors 100

Altos 61 Bases 118

Making a total of 616.

Joah Bates, Esq., conducted, as before; the elder Cramer led
the band ; and among the principals were, the celebrated Fischer,
T?ith John Parke, oboes ; Florio, Papendick, one of the queen's
pages, and Monzani, flutes; Crosdill, Cervetto, who is now
living, Mara, the husband of the famous singer, and Stephen
. Paxton, the sweet composer, violoncellos ; Baumgarten and Par-
kinson, bassons. The vocalists, whose names are now at all re-
membered, were, Madame Mara, and Signor Tenducci, sopra-
nos ; the elder Knyvett, alto ; Harrison and Norris of Oxford,
tenors ; and Reinhold and Signor Tasca, bases. The perform-
ances of the first, second, and fourth days consisted of selections;
the third of the Messiah.

Received in 1785
Disbursed

£11,648 13
5,048 13

Net profit . 6,600

By which it appears that the receipts were less than those of
the preceding year, by more than lOOOt. ; and that the expenses
were considerably diminished, though so great an increase of
performers took place.

In 1786 the Musical Festival was celebrated during the two first
weeks in June : the patronage and direction as before ; but the
number of performers was again augmented. They now were as
follows : —

Instrumental.

Violins 106

Violas 32

Violoncellos 19

Double Bases 13

Flutes 6

Oboes 28

Bassoons ...•••... 33

Double Bassoon • • • . 1

Horns 12

Trumpets 14

Trombones 6

Drums 1

Double Drums 2

Vocal.

Sopranos 91

Alios 92

Total

Tenors 125

Basses 160

741

The same conductor, leader, and nearly the same principals
as before. But to the vocal list were added, Mrs. Billington
and Signor Rubinelli. The second and third parts of the first
day's performance consisted of Handel's ' Israel in Egypt, as it
was originally composed, and called Exodus.* So that the
report now circulated by a morning paper, that this Oratorio is
to be given in an entire state, at the approaching Festival, for the
first time since the composer's decease, is one of those fallacies
for which some dealer in small paragraphic wares (vulgo, puffs)
must be answerable. There being no overture to this oratorio,
the fifth grand concerto of Handel was performed instead.

Received in 1786 if 12,326 7

Disbursed . 6.426 7

Net profit £5,900

The public appetite for such performances having been rather
excited than satiated by those of the preceding years, a fourth
' Grand Musical Festival in Westminster Abbey ' took place

during the last week in May, and the first in June, 1787, the
directors nearly as before^ and the assistant-directors consisting
of precisely the same persons as on all the former occasions : but
a further addition of more than eighty performers was made to
the band, which now comprised-^

Instrumental.

Violins

123

Double Bassoon •

Violas

. 35

Horns

. 12

Violoncello .

Trumpets

Double Bases .

Trombones

Flutes

. 6

Single Drums

. 2

Oboes

Double Drums •

Bassoons

. 34

Vocal.

Sopranos

101

Tenors .

144

Altos ,

. 98

Bases

• 157

making 805, exclusive of principal singers, which being 20 in
number, the total of performers was 825. With the exception of
Signora Storace, who was added, and of Mrs. Billington, who
did not appear, the chief performers, including the conductor,
were as in the former year. One day was, as usual, dedicated
to the Messiah, and Israel in Egypt was again given in its origi-
nal and entire state. The other performances were miscella-
neous ; but all the music was still that of Handel only. The
receipts at this festival exceeded those of former years very con-
siderably.

Received in 1787 . ^£14,042 13
Disbursed . 7>342 13

Net profit . ^^6.700
The excess in expense arose from the great increase in the

band.

The number of persons, or at least of tickets delivered at the

doors, on each of the four years, was as follows : —

In 1784 . . 10,480

1785 . . 9,516

1786 . • 9,105

1787 . . 9,811

Tlie money taken at the doors on the days of rehearsal ac-
counts for the diflFerence between the tickets admitted and the
total receipts.

During the two succeeding years, there were no performances
in the Abbey. In 1788, the lung being in a threatening state of
health, was recommended by his physicians to drink the Chelten-
ham waters, which being resolved on, led to his promising to be
present at the Worcester music-meeting. It was then said
that, by his Majesty's commands, there would be no Abbey
music that season, in order not to endanger the ' success of the
Worcester Festival. But, shortly after, the king's malady too
plainly manifested itself, and, of course, nothing of a public
kind, in which the royal presence was essential, took place during
its continuance.

In 1790 the Abbey performances were renewed, the royal
family were present, and the whole was under the same direction
as heretofore, while the band was again augmented in number.
The profits, however, if any, were inconsiderable.

The year 1791 witnessed the sixth Grand Festival in West-
minster Abbey, when the performers were increased to the asto-
nishing number of 1067. But, though tolerably well attended,
the tickets were not demanded with the same avidity as before;
the excitement of novelty had abated, and the state of public
affairs was becoming alarming : hence, while the expenses of the
performances were much enlarged, the means of meeting them
were diminished, and from that year till the present moment no
performances exclusively musical have taken place in the sacred
fane which has witnessed so many triumphs of the art ;* except

* < At this last Abbey xneetiog,' nys the author of the History of the York Grand
Musical Festival, in 1823, ' there was present ou« auditor, of all men the most capable
of appreciation its excellence, the immortal Haydn, then on his first visit to this
country ; and from it he derived a confirmation of that deep reverence for the miehty
genius of Handeij which, to the honour no less of his candid modesty than of hi»
judgment, he was ever prone to avow. The study of Handel fixed his ecelesiastical
style, and imparted sprandeur and msjesty to his ideas, previous to which his early
oratorios do not rank high. His biographer observes, that if he had never studied
Handel, he would never have written the Creo/ton. He once said^ on hearing th»
Mfstiah at Prince Schwaitxenburgfs, ''Tliis man is the father of us all !'* and wMt an
inspiring efivct must its performance^ by a iA^tand voices and instruments^ have pio>
duoed on the mind of such a hearer I '

T«E MUSICAL LIBRARY.

one of a miscellaneous kind^ of modern as well as ancient com-
positions^ by a band of three hundred performers, which imme-
diately followed the coronation lof George IV*, and while the
Abbey remained in the state in which it had been prepared for-
that solemnity. This was for the benefit of the Westminster
Hospital, and added upwards of eleven hundred pounds to the
iunds of that long- established and most useful institution.

The receipts, then, of the four years' performances in West-
minster Abbey amounted, it will be seen, to the gross sum of
50,754Z. 5*. lOd., and the net profits to 26,200Z., of which
16,000Z. were given to the Royal Society of Musicians; 5500/.
to the Westminster Hospital;' and 4500Z. to St. George's
Hospital. .

YORK, BIRMINGHAM, NORWICH, AND OTHER
FESTIVALS.

Next in rank to the performances in Wesminster Abbey, must
be placed the two great musical festivals at York in 1823 and
1825. The first was held in the month of September, and con-
sisted of four morning performances in the Cathedral, and two
evening concerts in the Assembly Rooms. The aggregate num-
ber of the band was 465, whereof 180 were instrumental, and
285 vocal performers. Mr. Greatorex was the conductor : 21,980
persons were present, that is, so many paid for admission, of
which it is to be presumed that many attended every perform-
ance, and great numbers were at more than one. The receipts
were 16,174i. 16*. 8d.; the expenses 8809Z. 15«. 2J., leaving the
sum of 7365/. Is. 6d. to be divided between four county cha-
rities.

The second, in 1825, took place also in the month of Sep-
tember : there were four morning performances in the Cathedral,
and three evening concerts in the New Concert Room, built and
opened for the occasion. Mr. Greatorex was conductor of the
whole, assisted by Dr. Camidge. The leaders were Mr. F.
Cramer for the mornings, Messrs. Mori, Kiesewetter, and Loder,
for the evenings. The instrumental part of the orchestra con-
sisted of the following : —

Violins . • ,92 Serpents and Base Horns 8

Violas ... 32 Trumpets . . 6

Violoncellos , . 24 Horns • • .12

Double Bases . • 16 Base Trombones • 3

Flutes ... 6 Tenor do. . . . 8

Oboes ... 12 Alto do. • . . 3

Clarinets . • .6 Double Drums . « .2

Bassoons . . .12 Harp . • • 1

Choral.

Sopranos . . 90 Tenors

• *

Altos . . 70 Bases .

•

100

Summary.

Conductors and Leaders

Principal Vocal . , .

•*•

Chorus ....

. 350

Instrumental ....

248

Total 619 performers.

The receipts were 20,550/. : the expenditure 18,000t

The three last Grand Musical Festivals at Birmingham took
place in the years 1823, 1826, and 1829.

The receipts in the year 1823 were 10,558i. ; the expenses
5806Z.

The receipts in 1826 amounted to 10,104Z. ; the disbursements
to 551 R

The receipts in 1829 were 97711 ; the expenditure 5964/.

Mr. Greatorex conducted the whole of these ; but the general
management was intrusted to Mr. Moore, a Birmingham gen-
tleman.

The Festival, to be celebrated in October next, in the magni-
ficent New Hall, which will then be opened, is expected to be
the most splendid thing of the kind that ever took place; at least
out of the metropolis.

Of the Norwich Festivals, that in 1824 produced 6762/. ; and
the net profits remaining for the hospital were 2411/.

A Grand Musical Festival took place in the month of September,

1829. The band comprised 134 instrumental, and 216 vocal,

.performers; in the whole 350. The receipts were stated, in

round numbers, to amount to 9000Z. ; th)e expenses to about half
that sum. The conductor was Sir G. Smart.

Another festival, upon nearly the same scale, was celebrated
in Norwich in 1833, the complete returns of which we have not
been abk to procure, but the profits amounted to between 700/.
and 800/. •

The Edinburgh Musical Festival in 1815 produced 5492/.,
leavjuff a profit for the charities of 1581/. In 1819, at a second
festival, the receipts were 5256/. ; the net profits 1252/. In 1824,
at a third, the produce was 4940Z. ; the profits 542/.

The Liverpool Festivals in 1813 and 1823 produced 6000/.
each, leaving the sum of 2200/. each year for the benefit of the
charities. In 1827, the gross receipts of the festival were about
9000Z. ; the expenses 4800/. At that of 1830, the proceeds were
7800/.; the disbursements 5800/. The last festival in 1833
produced about 8000/., leaving nearly 2900/. for the various
charities. But of the former sum about 2500/. was received, not
at the musical performances, but at the fancy ball.

In our next we shall give some account of the plan and
arrangements for the ensuing musical festival in Westminster
Abbey. _^

MUSICAL FESTIVAL AT AIXLA-CHAPELLE.

Thb Musical Festival (Fete Musicale) of the Society of the Lower
Rhine, which takes place every year on Whit-Sunday and Monday {Us
soknnitesde la PenlecSU)* h this year fixed for the 18th and 19th of
May, and will be held at the above city. Tlie present is the third of the
kind, since the institution of this national fete, which has been celebrated
in that city ; and for the third time also, the well-known composer and
performer, Ferdinand Ries, has undertaken the duties of director. The
choice of so distinguished an artist leaves no doubt as to the execution
of the various pieces, of which the program has been ^arranged in the
following manner : —

FIRST DAY.

OvBRTuas, composed for Schiller's drama, Don Carlos^ by Ferdinand
Ries.

Deborah^ OaAToaio by Handel, m three acts, with additional wind-
instruments, by Ferdinand Hiller.

SECOND DAY.

First Part, 1. Symphony, Mozart, in c, known by the name of
Jupiter.

2. Hymm, Cherubini.

Second Part, 3. First movement of Beethoven's Symphony, No. 9.

4. Selections from Frederick Schneider's Oratorio, The Last Judg-
ment^ namely, Nos. 10, 11, 12, 13, 14, 29, and 80 •.

The oratorio Deborah has never been heard in Germany. Like
most of Handel's oratorios, it is set to English words ; and, of all the
works of the same kind written by that great master, is the one which
has been less frequently performed in England, though not inferior to
his best productions t-

Like many other works of Handel, Deborah now seems feeble in instru-
mentation. It is well known that fifty years have elapsed since Mozart
felt the necessity of strengthening the score of the Mesniah by additional
wind-instruments. M. Ferdinand Hiller, a young composer of distin-
guished merit, has undertaken to render the same excellent service to
Deborah* No one, probably, is better able to execute this difficult task.
He knows intimately the style of the ancient masters ; be passionately
admires their compositions, and will attempt nothing that shall prove at
all injurious to their effect He then, no doubt, will not modernize this
fine work. He has to guide him in his labours the model which Mozart
has furnished in the Messiah.

The program does not distinguish which of the hymns of Cherubini is
to be performed, it merely states that it is selected from the best works
of that master ; and all that ever proceeded from his pen in this class of
composition is a model of perfection.

We are aware that the ninth symphony of Beethoven is that with
the chorus, which has been attempted at Berlin, Paris, and London,
without any opinion having been given on the merit of the work, the
object of which the composer never explained, and seems to be still,
in some degree, a secret.

The Last Judgment, of M. Fred. Schneider, is a noble, a grand com*
position, the reputation of which is firmly established in Germany. It
formed a part of the musical festival given at Cologne in 1821, where
it was performed for the first time. — {Revue Musicale,}

* We do not know how theae ntimben correspond with Mr. Edward Tayk>r*t
ezceUent English edition of this work, but we presume that they include the lattet
portion of the first part and most of the second. — (EMitrJ)

f This work Handel thought one of hia best. When asked by young profeason
iur permission to hear his more pleasing works, Jmdat MaeoaUnu, AeU mnd OoMtrnp
&c ftc, he replied, half angrilv, < Py Cot, vou vill go to hear mine pretty music, put
you vill not aak to hear mine Ileborah ! *~JBdilQt.)

^ I

THE MUSICAL LIBRARY^

CONCERTS.

OF ANCIENT MUSIC
POUSTH CONCERT, WBDNISDAT, the 901 of AjfO.

Under thaDiredioiiofflMBABi. OP Cawdob. '^

(SMtr.) . , . . ; Hmiwbu

8oog,«aru;^t.Slr-' } Mr. !««««. (JW-,P*») . H«»i.
Selection ftom Te Deum Jokbi.u.

Olee, 'OBirdofETe/ Thk BAaLOFMomnMOTOif.

Song, < Holy, holy.' lC»d. Candori. (AafevijifMi.) . . « HAjn»i..

Chorus/ Immortal Lord.' • {Deborah,) . • . Hamobl

Symplionia. • • . (Jupiter.) Mozabt.

CmaiaUf'VMdBem: Mri.Knyv8tt Pubcbix.

Duet, * lo t*Abbraccio.' Mad. Caradori and Sig. ZucheUi. {Rodelinda^) Hakdbl.

Chonii, ' Dal lieto BOgg^omo.' . • ^Alcesie.) • • Gi.ucx.

Song, < Confusa, abbandonata.' Mad. Caradon • • . • Bach.

Maidngal,*Wlien'I3ioralii.' Wbblkm.

Song, * Sanctnm et terribile.* Sig. Zuchelli. 1

Song, ' Laudamus Te.' Miss C. NoYello. > « • • • Psroolisi,

Chorus, < Cum Sancto Spiritu.' J

Lord Cawdor's selection was quite of the orthodox kind : with the
exception of Mozart's, not a name appeared in the program that might
not naye been admissible at the very first institution of these concerts,
nearly sixty years ago.

The overture lo Esther would have gone off excellently well, but for
the oboe, a very important instrument in this, which failed more than
ODce ; it reminded us, by its staccato notes, — which ought to have been
as much the reverse as possible, — of the good woman's head on the ice,
vhich went on crying pip, pip, pip. The fine symphony in c also
Buffered from the imperfectness of the same instrument ; otherwise it
was executed with spirit and accuracy.

Mr. Machin is endowed by nature with a splendid voice, but still
wants the refinements of art. He, nevertheless, is certainly improved
in manner since last season. The selections from the Te Deum proved
liow a great composer may sometimes be visited by fits of feebleness.
The slow full movement, ^ Miserere nostri, Domine,' which is very fine,
is the only one of the chosen pieces that upholds the reputation of
Jomelli. Nothing could be more perfect than Mr. Braham's delivery of

* Deeper and deeper still ;' we never saw company more fixedly atten-
tive, — never knew an audience more thoroughly satisfied. It would,
however, very much improve the effect of this, were the solemn chorus,

* How dark, O Lord, are thy decrees !' immediately to succeed the reci-
tative, as it does in the oratorio, instead of the air, ' Waft her. Angels, to
the skies,' which is of infinitely too calm a nature to be uttered by an
agonized father, exhausted by the violence of his throes, and plunged in
the deepest despair.

The two mighty double choruses from Israel in Egypt were admi-
rably performed. Lord Momington's glee is one of those effusions of
genius that are rare ; how melodious how harmonious, how tranquil
and tranquillising, is this lovely composition ! and yet how seldom heard !
Madame Caradori should have been allowed to sins Handel's exquisite
air wiih the original Italian words, she then would have felt justified in
imparting more feeling to it. The correctness of her performance can-
iK>t be disputed, but a little more warmth would have much increased its
effect.

We should have thought the double chorus, ' Immortal Lord,' perfect,
liad the second choir been stronger, the sopranos especially, who were
Bcarcely audible, i

Mrs. Knyvett was successful in ' Mad Bess,' and would have been still
more so, had she felt less solicitude. In her zeal, she rather laboured
parts of this fine cantata. The duet from Rodelinda, in the unusual
Key of F sharp minor, is what painters call a piece of still life. But
though tame, and hovering too much about the same key, it is gentle,
and would please were it shorter. Gluck's chorus presented a happy
contrast to much in this night's selection ; its lightness operated as a
salutary relief ; but the dancing, wlacU it is meant to accompany, was
iranted to give it the intended effect

The madrigal ia neither the best composition of its kind, nor the most
successful of Weelkes'. The air in two movements, by Pergolesi, (in
the name of common sense, why call it a song, being a motet ?) — ^is
better known here as ' O Lord, have mercy upon me !' and was thus
sung by Bartleman. It was judicious to let Zuchelli have it with the
Latin words, and to the first half he did full justice ; in the last he wanted
animation, was heavy, lumbering. Miss C. Novello sang the air — cer-
tainly it is not a sa?ig — * Laudamus Te,* simply and with effect. The
concert was well attended, considering that Easter had scarcely termi-
iiated, and that so many people were out of town.

MoBaar*

Hator^

THE PHILHARMONIC.
THI&D CONGXBT, MONDAY, April 7^

SinfoBUU • • • • • (Jt^er.) • « •
Alia, Miss MaasoD,'D' una Madre disparata.* (// Croeimto m EgiUo)
Concerto Faniaoiiftte (MS.), first time of perfoimanee; PianoCnte,

Mr. Moschelas. • . • Mososaunu

Motet, * Ezaltabo Te/ composed sipwsily fix the FUUianiioiiie Socitty,

Bid first time of performanee • • • W. Hobslby, Mus. Bac, OlBOii*
Oveiiure to JlfeAfmie, or The Mermaid amd the Kmghi, (MS.) fiist

time of performance • • . • r. Mbmdblssobh BASTHOiinr,

£ ACT ZI.

Smtonia. ••••^•••««4
Air, Mrs. W. Knyvett, <Holy and great is thy name.' (Moimt

SmaL) Thb Chevalibr Nbuxo

Dramatic Concerto Violin, Mr. Wolff Spomu

Duet, Mis. W. KnyveU and Mr. Bradbury, < By thee with bliss,' and

Chonis, < For ever bleised.* {Creation,) . . . . # Hatdn.
Overture to BeUhazzar'e Feaei. (MS.) . . .J. Hbitry Gribsbacb.

Xieader, Mr. Wbicbsbl — Conductor, Mr. Moscbblbs.

This was, on the whole, rather a tedious concert, though at least half
the pieces were of a very superior kind. The fact is, that the vocal part
acted as a drag on the instrumental, and the bill was unskilfully put
together. It is more easy to meet with good performers than good
managers, and the chances are, that, in a committee of six or seven
musical men^ being professors, not one will be found with a head for
business. In the council-room they are as weak as Antaeus nused from
the earth : the moment their feet touch the orchestra they become strong.

The first symphony — thanks to a leader and conductor of such steadi-
ness — never went better. The second — that in a, performed at Oxford
by Haydn when the doctorate was conferred on him — though it has no
trombones, no trumpets, no drums, nor even clarinets, which were
scarcely known at the time it was written, is always found to have
charms for unprejudiced ears, for persons of taste. What can be more
melodious, at the same time more rich, than the adagio ? — What more
vivacious, exhilarating, than the minuet and trio ? What more original
than the finale ? We should be most happy to hear half a dozen of such
old symphonies every season, though they are so comparatively noise-
less.

The Concerto Fantastique is in fact in three movements, though they
are all linked together, and there seems to be only a change of time*
The two greatest qualities of a composer are combined in this work-
invention and taste. These possessed, industry will furnish what is
improperly termed the science, though labour can never supply the
want of the creative power. In this we have plenty of agreeable melody^
full and rich instrumentation, showing that the whole has been as well
studied as imagined, originality and variety. The first part addresses
itself most to the experienced auditor. The middle, slow, in o minor,
appeals to those who love expressive, sentimental music ; and the finale,
all gaiety — some bad critics called it trivial — is meant for those whose
attention is apt to flag, unless kept alive by a brisk, stimulating conclu-
sion — ^something to which every hand and foot may responsively beat
time. The modest length of this — about fourteen minutes — is much in
its favour ; not that the materiel is in danger of becoming attenuated,
but because no feeling in any degree approaching to satiety is at all in-
duced. The good sense of Mr. Moscheles has enabled him to feel the
truth of the maxim. Jam satis est, the wisdom of which few composers
of concertos have had wit enough to discover.

The violin concerto was played at one of these concerts by Spohr
himself, many years ago, and with his performance fresh in our recol-
lection, we were quite satisfied with Mr. Wolf's. This may be called a
scena for tne violin : there are both recitative and air, slow and quick»
in it : words only are wanting ; and when it is considered how few
vocalists allow us to make out a single syllable that passes from their
lips, and that an instrument is much more perfect, quoad instrument,
than the voice, it may be a question whether songs, &c. are not quite
as intelligible when produced from the string and bow, as from the
trachea and larynx. The whole composition abounds in feeling, is full
of striking effects, and was now performed in a superior manner.

The aria of Meyerbeer does not quite suit Miss Masson's character
of voice. To parts of it she gave great effect : to others, where flexi*
bility is required, she proved unequal ; but her articulation and pronun-
ciation are entitled to unqualified praise. We regretted Mrs. W. Kny-
vett's choice — if it were her choice — of a song. The first half of tms
is somewhat dull, and the whole is calculated for a church or chapel, not
a concert-room. Neither did the duet succeed, for the same reason*
Moreover it is by no means the best thing in the Creation.

The motet, one of the compositions written for the society, possesses
some of the merits, and exhibits the defects of the former two. That
it is the production of a musician who is thoroughly acquainted with
the rules, and experienced in the practice, of his art, is quite dear :
that it wants the force, the character, which originality, or something
approaching to originality, alone can give, is not less obvious.
We are too much in the habit of dignifying by the term composition
barren imitations, provided the score is well toriUen — for such is the
phrase — though writing a score well is about as mechanical an operatkiv

THE MUSICAL LIBRARY.

•8 wrilbg oonect orlhagraphf and f(aod mmmar. uid demands no
oUmt qoaiiieatioiia than thoaamlaeii a tokntibfe education, aMention/and
niienoe, will generalfy beatov* Tooorapoaeonriit toQgnifyioinTait.
WithoQk invention, tkaft ]8» widurat originaiity, what is commonly eriled
a aoBapoaition is no hettDr than a copy ; a seleedon, or jwwlKxao, at tbe
Ibest We Biu>idd liave admmd a slow moTement in this motet, in ▲
flat if we mistake not, the viotins oon mrdini^ had it not at once [re-
minded ns of oAer tiung^ We riioidd nmch have approved the com-
Imiation of the vocal and ittstrameDtal bases in the last choras, but that
it is an ondisgnised imitation of * The Lord shall reign/ the well-known
opoiing of Handel's chorus, * The horse and his fi&r.' In few words
then, — ^we most have prononnced this rather a clever, and in some
parts a {leasing, work, had it been what we call new : viewed as a com-
position openly challenging criticism, and wanting novelty, we can only
say that it is by no means so snocessfol as some of Mr. Horsley's efforts
in glee-writing have proved.

The new overture of Mendelssohn in f minor is an able composition,
bat, judging from once hearing, does not seem to us to be equal to
either of his former two. If, however, on further acquaintance, it shall
appear to come at all near them, — ^which possibly may be the case — we
shall joyfully declare our conviction, and withhold no commendation to
which its merits may entitle it.

Mr. Griesbach's overture has a right to claim as much praise as we
have bestowed on the new vocal pieces produced at this and the former
concert : it is just as correctly written, and exhibits the same modicum
of originality.

FOURTH CONCERT, MONDAY, APRIL 21.

ACT X.

Sinfonia- Pastorale ••••••• Bbsthoven.

Aria, Signor Tamburini (^Maometto Sfecondo) . • • Rossini.

Fantasia, Flute obligato, Mr. Nicholson • • • • Nicholson.

Alia, Madame Stockkauwn, * Sol pud dii' « • • F. Fbsca.

Overture, Oberon « CM. von WsBsa.

ACT n.

Sinfonia • Hatdn. '

Aria, Sif^or Rubini, * Vive tu,' (^Jnna Bolcnd) • • Donizetti.
Air Van6, Violin, M. Ghys, (from Brussels) . • • Ghts.
Terzetto, Madame Stockhausen, Signor Rubini, e Signor Tarn- ) ^

burini, 'Tiparlil'amore,* (0/(r//o); .... J ^os«w»-

Overture, Le Ravine di Paluzxi A. Rombbxq.

Leader, Mr, WeichseU- — Conductor, Mr. Bishop.

The audience were more than usually pleased with this selection,
which the very first view of the program convinced us would be popular.
Mad. Stockhausen, a great favourite, who was absent all last season,
now re-appeared ; and the names of Tamburini and Rubini are cerfkinly
more agreeable to the majority of the subscribers than those of our
English singers, perhaps because ending in i. The natural powers and
the talents of the former of the two we not only admit, but hold in the
highest respect — ^they account for all the applause he receives ; but for
the admiration excited by the latter, which is undennible, we can assign
no reason except fashion, which, it has been a thousand times said, is as
arbitrary as inconstant.

Mad. Stockhausen was still rather suffering from the remains of the
influenza, but sang a rather indifferent aria, full of divisions d, Vandenne,
with great nicety and judgment. She was also extremely successful in
the terzetto, one of the best things in OUUo ; and here Rubini had less
opportunity of indulging in those alternate explosions and whisperings
of the voice, and in that, to us, distasteful falsetto, as well as in the
Touiadesy on which his fame seems to be built He, however, revelled
in enjoyment in tlie aria of Donizetti : here he capered and flourished
without control, turned the ' human voice divine* into a bad instrument,
and took as much pains to mount into the soprano scale as, were his
voice a soprano, he, doubtless, would do to descend into that of the tenor.
But he was not only by nearly all rapturously applauded, as the modem
phrase is, but encored by half the room. This fact will suffice as Sig.
Kubini's best reply to criticism : it is irresistible, his business being to
please, no matter how ; for the propagation of good or bad taste can
Wdly be said to be connected with any code of morality. Sig. Tam-
burini was nearly perfect in an aria that has some little merit in its
place on the stage, not any in a concert-room : but even he has too
much of the florid in his style.

The Pastoral Symphony — this musical picture — was, as a whole, de-
lightfully executed ; one or two of the wind-instruments occasionally
failed, but this was only perceived by very close observers. Long as
this composition is, the audience here appear always much inclined to
call for a repetition of at least two of the movements, from which nothing
deters them but consideration for the performers. Haydn's Symphony
m o, distinguished in Forster's catalogue by the letter V, one of his
eadier works, written before tiie clarionet was much, if at all, known, and
without any of the brass instruments except horns, after having been
for many years laid by, comes out quite fresh, quite lovely, and in its
middle moveknent, a largo in d, dis^plays beauties which nothing of a
more modern kind can surpass. What a melody is the subject of this,
given by the oboes and violoncellos in octaves, while the bases accom-
pany in a few short notes ! and with what admirable skill is it worked !

wiist apparent simplicity, yet how much concealed art! Not less merit
db tlie minuet^ the trio, and flnale possess : few things of this most ozi>
ginal conmoscT exhibit so mndi onginsu^

Mr. mcnol8on*s Fsntasm proved mat his powers of jsxeflation continiit
unabated. The slow movement is a tender^pleasing'air, whieh he per-
formed with pure taste and great feeling. Tne rest 'i^ like most things
of tiie kind, intended to pfease hy surprism^ M« Gbys, a Belgian,
jost arrived in London, a violinist certainly of the first order, also, as a
matter of course, seeks to gain favour by astonishing. His leaps, from
ihe fourth string to tlie we know not what shift on the first, are the
neatest saltations we ever witnessed : he never fails in readhingthe mark
with the utmost accuracy, and in that bold manner which clearly proves
his confidence of success. But this is ad captandum vulgu$; he caa
do better things : his arpeggios, if not so striking in harmony as Pagar
nini's, are as full and neat ; and his fourth string, — his passages sopra
la 4*^ chorda^ — are quite equal, if not superior, in tone to those of the
celebrated Italian. But he is too wise, considered as an artist, not as a
money-ffetter, to play whole movements on a single string, while he has
four at his command. His tone is strong and pure ; but we cannot say
much in commendation of his music. He probably finds that it satisfies
the public, and this may be a rational defence.

The Overture to Oberon^ a lasting monument to the genius of Weber,
was, as it always is here, admirably performed. Andreas Romberg's-
overture to the Ruins of Paluzzi is a masterly work, and should be given
once more, placed where it may be heard by those who are obliged to
depart before the finale.

MADRIGAL SOCIETY.

Though the anniversary of this useful and highly interesting Society
took place at the banning of the year, before we began to prepare for
the present publication, yet we shall be serving the cause of music by
making such an institution more generally known, especially out of
London. Possibly we may assist in encouri^ing amateurs in the pro-
vinces to form similar societies, for the purpose of cultivating a kind of
music which the better it is known the more it will be admired, and
that possesses the rare quality of never lulling upon the senses like the
fashionable airs of modem Italian operas.

The following account of a Meeting, which created quite a sensation
in the musical world, appeared in a daUy p^per, at the latter end of last
January, and, having been ourselves present, we can vouch for the accu-
racy of the report :—

' A moiety, perhaps, of our readers are not aware of the existence of
this Society ; still fewer have any means of appreciating its importance,
in relation to vocal music of the truly excellent kind ; and a yet smaller
number have ev^r attended its meetings, and tasted the pleasure — the
intellectual pleasure — which it so abundantly affords. Nevertheless,
the Madrigalians have now been embodied nearly a century, and, from
almost their infancy to the present moment, have counted amongst their
numbers the most distinguished contemporary musicians, and the best
dilletanti of the British Isles. Found^, in 1741, by a Mr. John
Immyns, an attorney, and at first consisting chiefly of small tradesmen
and mechanics — persons whose minds were in advance of the age in
which they lived — the Madrigal Society has struggled much, and under-
gone great vicissitudes. A few years since, as the Chairman ou the
present occasion mentioned, a sufficient number of members could not
be collected to furnish one voice to a part of a single madrigal; this year,
the large room at the Freemasons* Tavern was scarcely capacious enough
to accommodate the party assembled. The rapid spread of the vocal
art will necessarily be inferred from this fact ; while the moral philo-
sopher will deduce from it the vast improvement working (we cannot
say silently) in society, by the substitution of mental for sensual plea-
sures.

* On Thursday last, the annual meeting of the Madrigalists was held
at Freemasons' Tavern, Sir John Rogers, Bart., the President (a first-
rate composer), in the chair, who was supported by Lords Burghersh,
Saltoun, Sir Andrew Barnard, and other amateurs of rank; together with
a host of eminent professors, among whom we noticed Messrs. Braliam,
Vaughan, Bellamy, Evans, E. Taylor, Leete, Hawes, Turle, Sir G.
Smart, Horsley, Gobs, Walmsley, Novello, &c. The young choristers
of the Royal Chapel and St. Paul's Cathedral also attended.

' After dinner, the Chairman, in a remarkably neat, lively, and well-
delivered speech, stated what would be the order of the proceedings.
Music-books were then laid on all the tables, and the company was
divided into three parties, — altos, tenors, and basses ; the boys, to whom,
of course, the treble parts were assigned, occupying the centre of the
room. The President having announced that only three toasts would
be given, and that these would not be followed by any of the usual de-
monstrations, he considering this a private meeting, though so nuine-
rous a one, the musical part of the entertainment commenced with
Non Nobis Dominey which, sounded by little less than 150 voices, pro-
duced an effect that, without any figure of speech, may be said to have
reached the sublime; unless, indeed, terror is to be considered one of
its necessary ingredients. The other compositions consisted either of
madrigals or of music nel stilo madrigcUesco, mostly of the 16th and

THE MUSICAL LIBRARY.

17th centuries. Of the fonner, one hitherto unknown to the Society,
** Down in a flowery vale/' ty Festa, of the date of 1541, was received
with very marked satisfaction ; and not less was excited by Morley's
** I love, alas ! I love thee," dated 1595 ; and Bateson's " Who prostrate
lie," composed in 1604. Dr.Croft^s splendid full anthem, '*God is gone
up,' was most efificiently performed, and only rivalled in effect — an
effect, however, of a very different kind — by that very solemn strain of
humiliation and prayer, " Hide not thou thy face;" which has immorta-
lised Richard Farrant, one of the gentlemen of the chapel of Queen
Elizabeth. A motet, '^ Laudate nomen Domini" a specimen of the fine
simple counterpoint of the sixteenth century, charmed the company not
less than any of the preceding. The author. Dr. Christopher Tye, would
certainly never have been forgotten while Anthony & Wood's Athena
Oxonienses continued to be read, and the Doctor's rebuke of his Queen
\o be remembered ; but this composition is sufficiently buoyant to float
his name down the stream of time, and may be pleaded as a set-off

Xinst the absurdity he perpetrated, in commencing, and actually com-
^ ;infl; up to fourteen chapters, a metrical translation of the Acts of the
Apostles, which he diligently set to music, and dedicated to his pupili
Edward VI., who, it appears, sang the doggrels to his royal lute! What
some of the members considered an innovation was introduced at this
meeting, namely, a double-bass, as a support to the voices ; and, thoush
a giant in his way. Signer Dragonetti was the performer on ilaajiddle
raised to the third power : we felt — not with the dissentients, that all
instrumental aid is worse than useless, but — that a bassoon would have
been more homogeneous, as regards vocal music. A soft organ, how-
ever modestly employed, would, undoubtedly, be serviceable in keeping
the voices together, without at all infringing on the rights of the madri-
gal, or compromising the dignity of the performers.

* So delightful was the whole evening, that the party did not break up
till long after the hour prescribed by the laws of the Society for sepa-
ration had passed.'

PAGANINPS CONCERTS.

On Monday Evening, April 7th, Signor Paganini had a Concert at the
Adelphi Theatre, which was moderately attended. He repeated many
of the pieces which the musical public have now heard very often, and,
if we mistake not, Introduced nothing new. On the following morn-
ing he gave a second Concert, at the Hanover-square Booms, at which
not more than one hundred persons were present, half of whom, it
may he fairly estimated, came in with free tickets. After this Signor
Paganini fell ill^ and postponed his third Concert, which subsequently
was advertised for the last week in April, on the night long before
announced for Mr. Hawes's Concert at' Willis's Rooms. Both will
take place after our present number is printed off. We shall notice
them m our next.

REVIEW.
A Set o/* Eight Glees, compo$ed by John Lodge, Esq. (Hawes.)

It would be no difficult task to mention three or four English amateur
composers of the present day, who, in fertility and richness of imagina-
tion — in genius, would, if brought into (air competition, be found to
excel the same number of living English professional composers, how-
ever carefully they might be selected for the purpose. The latter might,
possibly, prove superior in matters of detail, in those not unimportant,
thouffh minor points, which depend on constant practice and experience ;
but they would not be able to bring any thing like the quantity of ori-
ginality and correctness of judgment to the contest, for reasons which
will be obvious to those who have reflected on the subject.

The glees before us show that they are the product of a mind strength-
ened by education, and unimpoverished by the weakening labour of
teaching. They display much creative power and good taste, and tlie
few defects they exhibit are, we believe, errors of the engraver.

Correctly speaking, we have here five glees, two vocal quartets, and
a madrigal. Two we designate as quartets, because they iiave an 06-
hligato accompaniment, therefore do not come under the description of
what is properly called a glee ; and to the last of the set, the composer
himself gives the title of madrigal.

The first, ^ Now the bright morning star,' a quartet for soprano, &c.
well expresses the lively feeling of the poet, though it is not so happy
in preserving his accentuation. This is not less clever than pleasing.
A sequence of sevenths, page 10, will captivate all ears, especially the
learned ones. The second, * Bright be the place of thy soul,' a glee,
for the same voices as the preceding, is most feelingly set : a chord in
the fifth bar of page 14 is quite masterly, and there are other proofs of
tnusical thought in this composition. The third, ' When to their airy
hall,' a glee for a soprano and four male voices, has cost the author
many hours of serious study, but to good purpose, for he has most sue*
cessfully set some forcible lines of Byron — lines In which the poet
directs that his name alone may be his epitaph. There are some
charming points in this : the musician has caught the inspiration of
the poet

, . ,The next, * I. think of thee,' is a delicate, beautiful glee for soprftno,
tenor, and base ; short, and easy for the performers. The. composer haa
neglected to mark the movement of this, and likewise of. the. second,
omissions which, haying been puzzled by ibem, we, for the sake of
others, trust he will rectify, before, more copies are taken from the
plates. The fifth, * Violets again are here,' a glee for three equal, i. e*
men's voices, is exceedingly well designed apd executed : the melody is
free, and one that will fasten on the ear : indeed, the whole is in a style
that will render it popular. The words^ by Mrs. Emerson, are those
which have recently been so well set as a madrigal, by Lord Burghersh.
The sixth, * Rouse, ye swains/ a quartet for soprano, &c., is less ori-
ginal than the others. Some broken passages of semiquavers have
rather a ludicrous effect, and altogether tnis has afforded us less satis-
faction than the others.

The seventh, 'They say there's a flower,' a glee for a soprano and
three men's voices, is melodious and justly conceived. The Largo is
very expressive, and with this — certainly according to the poet's inten-
tion — the glee should have terminated. But musical effect, the com-
poser will say, required the repeat of the first movement. We reply,
that, if one of the two must be sacrificed, let sound, not sense, be the
victim. But the alternative may be avoided, by choosing words that do
not lead to it. The last of the set is a madrigal, for two sopranos, an
alto, tenor, and two bases, written en rigle, and duly elaborated.

We congratulate the lovers of vocal harmony on an addition to their
collection which, we have no hesitation in saying, will prove highly
valuable. ^_— .

1. BaiLLUNT RoNoo, for the Piano-forte^ on the Serenade in Fra
Diavolo, composed 6y F. Kulau. (Chappell.)

2. Brilliant Rondo on ^Batelier, dtt Lisette^* from Herold's opera of
Marie, arranged by F. Kulau, op. 97. (Chappell.)

The air chosen by M. Kulau — ^best known here as * Young Agnes' — is,
as was to be expected^ the most popular in the opera. It was, we are
inclined to think, suggested by a beautiful rondo of Dussek, but there
is enough new in it to entitle Auber to the merit of having originated
the melody. The rondo formed out of it is little ntore than a flourish
from beginning to end, with a most liberal allowance of semitonic pas-
sages. The composer, however, was guided by the fashion of the day,
and took his instructions, no doubt, from the vendors of music, who then
found that extravaganze were the most saleable commodities ; for we
suspect that this, and the following, have been written for some time,
though only just published. Indeed, Kulau has been gathered to his
forefathers two years, or thereabouts, which amounts to something like
a proof that our conjecture is not wide of the mark. He has made
this quite difiScuIt enough for the most devoted slaves to execution, but
such is the excellence of the subject, that it pleases in almost any form.

The happiest musical thought that poor Herold ever embodied was
the popular air in Marie, In his Pri aux Clercsy which a good feeling,
a regard for his memory, prompted the French critics to extol so highly,
there is nothing at all comparable to this, which made his reputation,
and would have upheld it many years, had he lived. M. Kulau has
treated it with somewhat more moderation than the foregoing, but has
furnished sufiScient employment for the lovers of hard practice, who, we
must admit, will not entirely waste their time in mastering this, for it
contains several imiiroving, effective passages and good modulations,
and, neatly executed, will please a drawing-room audience.

Brilliant Variations for the Piano-forte on Aubrr's Barcarole in
Fra Diavolo, * On yonder rock reclining,* composed by Henri Herz.
(Chappell.)
We need not now enlarge on the great merit of Auber's barcarole ; it is
known to every one ; and, allowing for a few of those musical freaks
which are part and parcel of M . Herz, these variations are among the
best, — more free from unprofitable difliculties — than the generality of
his productions : but the fifth should be avoided by all prudent people ;
it so abounds in shakes for both hands, while other parts are going
busily on, that some folks it will make shake from fear, others with
laughter. He has, it is true, been considerate enough to put this varia-
tion in an easier form also, ' for small hands,' and we gravely counsel all
discreet persons, when the alarming page arrives, to insist upon it that
their hands are exceedingly small. M. Herz has certainly managed to
give something like newness to most of these variations, and his InlrO'
duzione has much originality. By leaving out three or four pages — a
practice strongly to be recommended in playing most modern piano-
forte music — ^the present work may be rendered very agreeable, but
requires a good performer.

1. Beethoven's Chorus, * Hallelujah! to the Father^ arranged for
Organ or Piano-Jorte, by Alfred Bennett, Mus. Bac. (Chappell.)

2. Haydn's Chorus, * The Heavens are telling* do. do. do.

3. Graun's Chorus, *Sing to Jehovah^* do. do. do.

About the time of the unfortunate death of this clever and most respect-
able muskian, a large volume of choruses arranged by him was pub*

THE MUSICAL LIBRARY,

Bailed, but he did not live to hear the praises bestowed on the work.
. The choruses which formed his collection ave now printing in a detached
. state, and the above are of the number that have appeared. They are
ablv adapted for either instrument, though occasionally overcharged
with notes; for harmony, however effective when distributed to a
whole orchestra, or assigned in a dispersed state to four hands, is con-
iiised when too much of it is crowded in a smaller compass for the con-
venience of a single performer. The two first of the [above are well
known ; the last, (from Der Tod Jent, or Death ofJesus^) an excellent
. composition, including a good and a pleasing fugue, which, like much
other music of a superior class, was long before it found its way to this
country, has, besides its intrinsic merit, the being a novelty here to re-
commend it to notice.

Quadrille de Contredanses et Gallopade^'brUlianles et varices; com-
poties par Fbak<^oih HOntkn. (Chappell.)

The name of HClnten, though he is at present not only a popular but a
good composer, would most assuredly not induce us to notice anything
of the quadrille species, unless possessed of qualities that raise it above
the rank of dance-music. , These are greatly superior to most things of
the kind, and may be played, and will please, without that accompani-
ment of the * fantastic toe' of which Milton speaks, — for fantastic we
presume it was in his day, though, Terpsichore knows, it is anything
but lively and frolicsome in ours. Nevertheless, good tunes have a better
chance of inspiring the toe with gaiety than bad ; hence said toe is more
likely to become animated with Mr. Hunten's quadrilles than with many
that in vain attempt to excite a little sprightliness in that too often dull
pedal extension.

Canzonet, 'Come away, sweet Love!' composed by Lord Burg-
HERSH. (Power.)

The complaint that most modem songs are much alike, cannot apply
to this, in which the pen of an original thinker in music is clearly to be
traced. It is a serenade, by a poet of the Elizabethan age, who ex-
presses himself with warmth and elegance, and has lost nothing in pass-
- mg through the composer's hands. The melody is graceful, aided by a
simple, appropriate accompaniment of chords broken into arpeggios.

The Sea-Gull, the tcords by Richard Westmacott, Jun., Esq. ; the
music composed by John Lodge, Esq. (Mori and Lavenu.)

We are much in want of a term by which to designate a composition of
higher views than are indicated by tRe word canzonet. Canzone hardly
comes up to the mark, but it certainly would answer the purpose better
than its diminutive. This, then, we might call a canzone^ having greater
pretensions than the generality of songs ; but the term aria— which,
doubtless, is often avoided because it might appear assuming— would be
preferable. It is a composition in which the poet's meaning is expressed
with all the energy he felt, who]| describes, in very poetical language,
the pleasures of the sea-bird amidst the foam of the tumultuous waves,
when their

< Blilk-white crests, which scattered far on high,
Mix in their fury with the stormy tky.

The imitative or illustrative part is in the accompaniment, which is
quite of the florid kind. The singer is confined to the enunciation of the
poetry ; and herein the composer has shown a judgment not very com-
mon. He has written no flights, no roars, no sea-gulls' shrieks, in the
▼ocal part, — which is an air with a strong tendency to recitative — but has
lefi the instrument to enforce tlie words, in a general, not particular
manner, to the full extent that reason would permit

Duet, * We're told that man is made of dust;' tlie words by Charles
BuTLsa, Esq. ; composed by Sir John Stevenson. (WiUis.)

This is announced as the last work of the composer, and he thus
finished his musical career cheerfully, for it is a merry bacchanalian's
advice to moisten our dust, lest it should be puffed away. Tlie music,
for soprano and base, is an imitation of the good old style, having the
addition of a piano-forte accompaniment, and well suited to convivial
meetings. ■

. Ballad, * Ladye mine ;' the poetry from an old author ; the music com-
posed by Miss MouNSEY. (Chappell.)

A FEW crotchets and ouavers put together so as to produce the happiest
result. There is much cleverness and great effect in this ballad, which
we should call simple, but that there are some good modulations in it to
which such epithet does not apply.

SoNO, * Sweet peace of mind ;' the poetry by Dr. Blacklock ; ujm^
posed and sung by Frederick W. Horngastle. (Hawes.)

This is in two movements ; the first of the accompanied recitative kind,
with a cantilena ; the second an air. The former describing, in glowing
notes, an agiUUed state of mind ; the latter, in a sweet melody, im-
ploring the return of mental tranquility. The whole shows the hand of
a master, and a man of taste.

Ballad, * Erin is my home;' the poetry by Thomas Hatnes BaYlt^

Esq., the music by Alexander I^ee. (Cramer and Co.)
Not very new, but tlie words are set with judgment and great feelmg:
the whole is simple and easy, and will infiilliably please in private amar
teur parties.

EXTRACTS FROM THE JOURNAL OF AN AMATEUR.

April 7th. The reported opposition of the Bishop of London to the
Musical Festival in Westminster Abbey is wholly without foundation ;
and so far from having withdrawn his name from the list of the Con^
mittee, it never appeared therein. It is not likely that his lordship
would, on such an occasion, have exposed himself to be charged with in-
consistency so manifest, as he must have been well aware, of what is a
secret to none, that in the metropolitan church, where that prelate has
his seat, money is taken at the doors every year, and has been time out
of >ind, for admission to hear not only vocal but instrumental music ;
and taken, too, at a meeting especially managed by the clergy, for the
benefit of the clergy, and always patronised and attended by the highest
dignitaries of the church. The bishop is too sagacious not to have fore-
seen, that the excuse which in the case of the * Feast of the Sons of the
Clergy,' might heedlessly have been pleaded— namely, that nothing but
the church service is there performed, though accompanied by a band —
would prove unavailing, since it is decidedly contrary to law, and punish-
able, to exclude any one from the church during divine service ; or, which
amounts to the same thing, to demand money for admission when ser-
vice is to be performed. The prattle about • desecration' is really * too
bad. ' Does it more profane the church to take money at its door for
charitable purposes, than to exact it at the same spot from those who
laudably wish to see the monuments erected to departed greatness — me-
morials paid for by the nation, and placed in the sacred edifice not only
as the reward of virtue, or of learning, or of valour, but in order to excite
others to follow the examples which efiigies and monumental inscriptions
bring to the minds of all rational beholders ?

9th. The French papers rive the following account of a successful
application made to a high court of justice, by Sig. Rossini. It
was made by him on the 21st of last March, when the Tribunal de-
Premiere Instance, at Paris, was occupied with his suit against the
Paymaster of the Civil List, under the following circumstances : —
During the reign of Charles X. Rossini was sent for from Italy by that
monarch, and very advantageous arrangements were made with him,,
with the understanding that he should devote his musical talents exclu-
sively to France. Rossini, however, some time afterwards wishing to
return to Italy, entered into a fresh arrangement with the Minister of
the King's Household. By this arrangement the title of First Com-
poser to the King and Inspector General of Singing was bestowed upon
him, as well as an annual pension of fi.OOOfr. for his past services. He
also bound himself by another engagement to compose exclusively for
the Academie Royale de Musique, and to produce for that theatre five
grand operas in the space often years, under certain pecuniary conditions;
but subsequently fearing the 6,000fr. might be considered as compen-
sation for the operas which he had engaged to furnish, he made an appli-
cation to the Minister of the King's Household with a view to settle ail
doubts upon the subject The consequence was that he obtained a
document, signed by Charles X. himself, in which it was ^expressly
stated that the pension of 6,000fr. was for his former services.
Matters were in this state when the revolution of 1830 took place, and
Sig. Rossini suffered the same fate as the other claimants upon the civil
list of Charle's X.-— the payment of his pension was stopped. He having
applied to the Paymaster of the ancient civil list for what he considered
to be his right, and claimed his arrears, the latter would not take upon
himself the responsibility of paying a pension granted by another govern-
ment, but said the question must be referred to the competent tribunals.
The case, therefore, came before the First Chamber of the Tribunal of
First Instance, M. Dupin appeared for Sig. Rossini, and established
the fact of the pension having been granted. M. Gairal, who waa
counsel for the Paymaster of the Civil List, endeavoured to show that the
pension ought to be paid by the Academie Royale, as Sig. Rossini waa
under engagement to write for that establishment ; but the Court de-
cided that he was not only entitled to his arrears of pension, hut
ordered it to be paid regularly in future. Thus he has been paid the
debt which France and the friends of art owed to him.

1 1 /A. Sig. Lablache, a zealous and conscientious performer, alarmed
by all he heard and saw at the rehearsals at the King's Theatre, desired
to have his engagement rescinded. But after his debCLt, he altered his
mind, observing, • When I see the public applauding every thing that
is in bad taste, I perceive and admit that my brethren are in the right not
to do better.'— (G/o6c)

\2tk. The English Opera House is rising rapidly; Mr. Beasley the
architect, and Messrs. Peto and Grissel, the builders, are indefatigable
in their exertions to complete it for opening in the first week of July,
when, there is little or no doubt, it will be ready in every respect to r*.

THE MUSICAL UBRART.

, echre the public. The trustees oa behalf of die holders of sharest are,
the Duke of Sussex, Lord Saltoun, Sir Andrew Barnard, and Charles
Hallett, Esq., the Navy Agent.

— The proprietor of the former English Opera House, and of that
now nearly erected, wishing to tlie utmost ef his power to encourage
* native talent,' very recently asked a distinguished dramatic composer
his terms for setting an opera of the usual length. The answer to his

S plication amounted to the following : — three hundred pounds in money,
e exclusive property of the copyright of the music, and two pounds
for every night the opera shall be performed. As success in an attempt
ef this kind is by no means certain, a fact well known to the composer
in question, and as decided success would alone indemnify the manager
of a small theatre, with a limited license, for agreeing to such con-
ditions, they were, very properly, declined.

15^. Apprehensions are entertained that the New Town Hall at Bir-
mingham will not be finished in time for the proposed musical festival,
which it was intended should take place early in October next. A com-
mittee is to be held this week, to ascertain when the structure is likely to
be completed. The postponement, if necessar}', of the festival, will
naturally enough be much regretted by the inhabitants ; and the general
hospital, whose chief support is the proceeds of the music- meetings, will
suffer very seriously, should this be deferred till another year. M. Neu-
komm too, who has written an oratorio for the occasion, will not feel a
little disappointed should he find that what he has so generously under-
taken to supply, and finished by so much exertion, will not be heard till
perhaps another year has elapsed. The musical world also will be, for
a time, losers by delay, for it is pretty certain that M. Neiikomm's work
is not only the finest lie has ever produced, but is likely to rank with the
greatest productions of this or any other age.

I7ih, The morning papers of this day have an advertisement, from
the Committee in Chief for managing the Musical Festival in the Abbey,
signed * Howe, Chairman,' announcing the following arrangements for
the four days* performance.

Tuesday, June 24. Haydn's Oratorio, The Creation^ and a selec-
tion from Handel's Oratorio, Judas Maccabmui,

Thursday, June 26. A selection from the works of Handel, Haydn,
Mozart, Leo, Beethoven, and other composers ; and Handel's Oratorio,
Israel in Egypt.

Saturday, June 28. A Selection from Handel's Oratorio, Samso/i,
and from the works of Haydn, Mozart, Beethoven, Purcell, Pergolesi,
Cimarosa, and other eminent composers.

Tuesday, July 1. Handel's Sacred Oratorio, TheMessiahy by com-
mand of her Majesty.

2UL It is, it seems, reported that the appointment of a certain
excellent conductor to sit at the organ during the performance of the
Messiah^ at the Abbey Festival, has given umbrage to some persons,
who, in a spirit not uncommon among musical people, propagate a
report that he is no organist ! Let these attend a single Ancient Concert,
and they will discover that a better organist for such a purpose is not to
be found in or out of London. The error is not in having fixed upon the
gentleman in question, but in having named so many others, some of
whom, if they have any discretion, will decline the office ; more espe-
cially those who cannot show that they have ever attempted to perform
a duty of the kind. The fact is, that the appointment, of such a number
of organists is a manifest absurdity, and most probably will, if persevered
in, lead to mischief, therefore should be annulled before sad experience
makes that apparent to all which is now so obvious to a few.

FOREIGN MUSICAL REPORT.

VIENNA.

Hofopemtheater. — M. Wild, having fulfilled his engagement at this
theatre, has left Vienna : his most recent performances were in Otello,
ZampcLy Normoy Die Capuleti und 3fontecchi, Die Unbekannte (La
Strauiera), Corinth* s Besturmung^ and other operas, in most of which
also Mdlle. Lutzer sang. Gretry's Blauhari (Bluebeard) has been re-
produced for the benefit of Mdlle. Clara Heinefetter, who sang the part
of Marie very sweetly.

Josephstddter theater, — Der Zweykampf (Le Pre aux Clercs) by
Herold has been produced here with success. Die Zauherflote and
WUhelm Tell have also been well received ; the parts of Sarastro and
Tell being sustained by M. PGckh.

On the 4th of February, Kapellmeister Assmayer conducted an admi-
rable performance of his oratorio Das Geluhde (the Vow).

The concerts have been numerous, and for the most part successful.
Among the most attractrve may be enumerated that of M. Aloys Taiisig,
a pianoforte player, exhibiting extraordinary facility of execution, and
xemarkable neatness and precision : that of the pupUs of the Academy,
who particularly evinced their great improvement in the correct and

▼ery excellent performance of a difficult symphony by Spolir ; that ef
Mdlle. Elizabeth FQrst, of the Italian Opera in Dresden ; the most bril*
liant feature was a violin concerto of Pechatscheck, exquisitely per-
formed by M. Muller: one given by Kapellmeister Kreutzer on the
5th January for a charitable object, on which occasion a grand overture
to the opera Melusina^ composed by him, was played with great effisct;
and that of the young violin player, Henry Vieuxtemps, on the 19di
January.

M. Dotzauer, of the Dresden Royal Chapel, one of the most eminent
violoncello players of the present day, is now in Vienna, and has occa-
sionally delighted the audiences at the Hofburg and Kdmthnerthor
theatres with a solo on his instrument between the performances.

The greatest musical treat, however, which has of late been enjoyed
in Vienna, is yet to be mentioned ; this was a series of quartet enter-
tainments, by the brothers Mfiller. The beautiful quartets of Moza^
were given in a style of unrivalled excellence. Spohr's music, elaborate
and difficult to be understood, acquired a charm beyond its own merits
from the exquisitely skilful and delicate manner in which it was played.
The genius of BejBthoven shone forth in all its magnificence ; and the
quartets of Haydn, Onslow, &c., were no less delightfully performed
than the rest.

BERLIN.

Koniglicher theater, — ^The performances at this theatre, in addition to
the merits independently belonging to them, have derived considerable
interest from the excellent singing of M. Wild, who, since his return
from Vienna, has appeared in the following operas : Die Stitmme van
Port id. Die Braut (La Fianctfe), Fra DiavolOy Isouard's Oioconde^
Das Unterbrochene Opferfest (the Interrupted Sacrifice), Cortes, and
lastly Gluck's Iphigenia, m which he sustained the part of Orestes ; on
this occasion Mad. Milder, who made her debdt in Vienna more than
thirty years ago, once more undertook her favourite character Iphigenia^
and though her voice has lost its youthful freshness, delighted the audi-
ence with her judicious management of it, and the chasteness of her
style. Besides the above operas, Figaro and Die Zavberflote have been
given, and also Mehul's Je toller je hesser, for the first appearance of
a Mdlle. Ackermann from St. Petersburg as Armantine ; she was favour-
ably received.

At the Konigsstddter theater, Ludovico der Corsikaner, an opera left
unfinished by Herold, but completed by Hale'vy, supported by the best
exertions of Mdlle. Schodel and MM. Holmillzer and Fischer, pro-
duced but little effect. This was followed by Der Barbier von Seville^
and subsequently M. Wild commenced a series of performances at this
theatre in the character of Zampa.

On the 3rd of February, Rossini's Zelmira was produced here for the
first time in the Italian language, with a most favourable result.

The members of the ' Singakademie' have recently given Lowe's
oratorio Die Sieben Schldfer (the Seven Sleepers), a composition of
very great merit. The principal tenor part, Antipater, was sung, in the
absence of M. Mantius, by the composer himself; the choruses were
good, and the orchestra played with energy and precision ; indeed the
performance was in every respect highly gratifying.

Concerts have also been given by Louis Lee, a violoncellist twelve
years of age, and by Gustav Liebrecht, a young violin player, the per-
formances of both on their respective instruments justifying sanguine
anticipations of future eminence. M. Leon de St. Lubin, a very excel-
lent violinist, has likewise been heard at a concert here ; his playing is
characterized by brilliancy of execution, sweetness of tone, elegance and
pureness of taste, and depth of expression. A composition of his own,
which he performed, bore ample testimony at the same time to his skill
and genius as a composer.

A new comic opera, from the Arabian Nights, entitled The Three
Wishes, has been peiformed with success. The words are by M. Rau-
pach, the music by M. Lowe, of Stettin. The best pieces are, the over-
ture, a romance, and the hymn of pilgrims, which last was executed by the
chorus with great precision. The casting of this last was excellent,
both dramatically and musically. Mdlle. Grundbaum and MM. Man-
tius and Ziechsche particularly distinguished themselves.

LEIPZIG.

The Euterpe Society, under the management of music-director C. G.
Miiller, continues to prosper; they have given various overtures by
Beethoven, Mozart, Cherubini, &c-, and a concertante by Lindpaintner
'for flute, oboe, clarionet, horn, and bassoon, played by MM. Gebler,
Faulmann, Kunze, Ijeichsenring, and Kretschmer; their solo players
were MM. Nohr, Sipp, Winter, and Grabau.

The concerts, likewise, have been good, particularly those by sub-
scription : in these, the chief vocalists were Mdlles. Livia (xerhardt,
Henr. Grabau, and Anschutz, and MM. Eichberger, Schmidt, and
Kressner. The foreign virtuosi who exhibited their talents in these con-
certs were M. Seeman, from Hanover, a skilful performer on the cla-
rionet ; M. W. Taubert, from Berlin, whose piano-forte playing was
characterized by much neatness and expression ; M. Nohr, Kapellmeis-
ter from Meiningen, who played some violin variations by Mayseder,
with much applause ; and M. Forckert, who, with his pupil M. Wohl-

THE MUSICAL LIBRARY.

lebet (bam blindj played a clarionet conoertante-duety with Bweetness
and great feeling.

The Thomanerchor is ftDurishing under the direction of M. Christian
Theodor Weinligs ; its members have recently given Handel's oratorio
Judas MaccabcBus with great success, before a numerous and distin-
guished audience.

MUNICH.

Mad. von Hasselt has appeared on the Munich boards as Imogene in
Bellini's Seerduber (II Pirata). The lovely songstress was greeted with
enthusiastic applause, though the opera itself was received, as it had been
when produced here on a former occasion, with indi£ference.

STUTTGART.

In a concert given here, the celebrated pianiste, Mdlle. Josephine Eder,
of Vienna, played delightfully, and was much applauded. In the same
concert the juvenile violin-player, Henry Vicuxtemps ofVerviers, thirteen
years of age, executed concertos of May seder and De Beriot(hi8 master),
and, together with Mdlle. Eder, played some concertante variations by
De Beriot and Hertz. This young artist may already justly claim the
title of a distinguished violin-player ; his tone is powerful and clear,
his execution brilliant, and his adagio-playing rich iux feeling and
expression.

DRESDEN.

Roltert der Teufel has been given here Although well cast and in every
respect most ably perform^, after three representations, proving no
longer attractive, it was withdrawn.

A concert was given here on the 16th January by M. F. A. Kummer,
who ranks deservedly with the most distinguished violoncello players of
the day. The vocalists were Mad. Schroeder Devrient, Mdlle. Schneider,
and M. Zezi.

On the 10th of February, the brothers Ernst and Eduard Eichhom
also gave a concert, playing compositions of Paganini and Spohr in their
wonted style of excellence.

HAMBURG.

The taste for violin-quartets is manifesting itself here as decidedly as in
Vienna and in Berlin ; the lovers of this kind of music have been
highly gratiBed by the exquisite performance of the choicest composi-
tions of Beethoven, Mozart, Onslow, &c., at the quartet soirees of M.
RudersdorjOf.

FRANKFORT.

The Russian Horn Band gave a concert at the theatre here on the 22nd
of January ; their clever performances afforded great delight to a numer-
ous audience.

HALLE.

M. Georg Schmidt, a pupil of Spohr, gave a concert on the 22nd of
January ; his playing is characterized by considerable delicacy and taste,
and he possesses uncommon powers of execution. The efforts of Mad.
Johanna Schmidt, however, afforded the highest intellectual treat.
Gifted by nature with a voice rich, powerful, and particularly clear and
sweet in the upper notes, assiduous cultivation has not been wanting to
raise this charming songstress, whose expression is equally true to na-
ture in the lively and the sublime, to an eminence which it is the good
fortune of but few singers to attain. Her exquisite singing and correct
delineation of fear, hope, horror, and love, in a scena and aria from
Spohr's Faust y called forth the most enthusiastic expressions of admira-
tion and delight.

ST. PETERSBURG.

Die Slumme von Portid was broii^ht out here on the 25th of January
with uncommon splendour of decorations, costume, &c., and proved very
successful.

Mad. BeUeville-Oury has been displaying her talents as a pianiste here
and at Moscow.

Mdlle. Heinefetter is expected here shortly to give a limited number of
performances.

MILAN.

Donizetti's opera Lucretia Borgia has met with an indifferent reception
here ; and Pacini's IvanhoCy partly in consequence of the alterations
which it was found necessary to make in it, shared a similar fate. The
opera was composed for Venice.

VENICE.

Donizetli*s Faxutay produced at the Teatro Fenice^ with the united
powerful attractions of Pasta, Donzelli, and Carthagenova, has been very
favourably received.

At a recent representation of / Capuleti e Montecchiy an introduced
scena and aria by A. Galli, a young man who has already distinguished
himself by some other very clever productions, added much to its com-
poser's fame, drawing forth the liveliest bursts of applause.

Mercadante's new opera, Emma dAniiocha^ has been produced at

the Fenice theatre. TJie Gazetia privilegiata di Venezia thus speaks
of it : — ** This is not what we hoped for^ or what certain persons, more
enemies than friends of the author, reported it to be, in saying that it is
the best of the composer's works. There are in it many pieces written
in pure taste, but genius is wanting throughout, and the dangerous ill-
ness which the author suffered from while labouring at this opera, had
its effect, no doubt. The overture was much applauded, but the
Introduzione was received with profound silence, as were the duet be-
tween Donzelli and Mad. Tadolini, the air by Carthagenova, and after it
that of Mad. Pasta. Nothing but desolation was threatened, when
luckily, a quartet, and the finales of the first and second acts, came in
time to appease the public. The third act, the last too in point of merit,
with the exception of a duet between Mad. Pasta and Donzelli, ended
amidst silence and the most condemnatory repose. However, the en-
thusiasm which the composer failed to excite within the theatre at-
tended him on the outside; he was accompanied by the light o/ torches
and the noise of hurrahs to his house, where we will leave him to
sleep, we hope tranquilly.'*

PARIS.

A new o])era by Donizetti, Gianni di Calaisy was lately given at the
Theatre Italian : it is far inferior to Anna Bolena, A duet sung by
Rubini and Tamburini, and a barcarole by the latter, were the most pro-
minent and indeed the only decidedly successful pieces in the opera.
Mdlle. Unger had but little to sing. The overture, composed by M.
Tadolini, is remarkable for its style, if not for originality of ideas. The
opera is, for the present at least, withdrawn.

Le Cfidteau d' Urtuhi, an opera by the late son of the composer Ber-
ton, has been given here, and created but little effect ; and a new opera
by a new composer, Marliani, called // BracOy in spite of the. absence of
intrinsic merit, has been favourably received, owing to the superior man-
ner in which it was produced. With a less excellent company than that
of the Italian Opera, it must undoubtedly have proved a failure.

Boieldicu has been appointed Professor of Composition to the Conser-
vatoire, with a salary of 4000 francs.

A Signora 'Fanti lately made a d^bilt at the Thtf&tre Italien, as Arsace^
in the opera of Semir amide. It is difficult to name the good qualities
of this performer, easy enough to point out those of an opposite kind.

At the second of M. Baillot's concerts, this great violinist, by turns
brilliant, energetic, and pathetic, executed, in an inimitable variety of
styles, a quintet by Boccherini, a quartet of Haydn, the quintet in e
flat of Mozart, and the fine quartet in c minor of Beethoven. He ter-
minated the evening by an andante in b minor, graceful and new, com-
posed by himself.

The Government direction that the theatres shall be closed eveiy night
at eleven o'clock, has been regularly published, but not enforced. Some
of the official journals state, that it is not intended to insist on obedience
to this order ; while others say, that eleven was named by mistake, mid-
night having been intended. Both are absurd, for no performance can
conveniently terminate at the former hour, and none ever extends to the
latter.

The opera of La Dmma del Logo has been very ably performed at the
Theatre Italien, Mdlle. Unger, as Malcomy proved very successful ; and
Sig. Giulietta Grisi, as Elenay was overwhelmed with applause : but
Tamburini, as the Father, produced the strongest effect.

A frightful accident has deprived the world of the physiologist, Dr.
Bennati, whose work on the Mechanism of the Human Voice has given
him so much celebrity. Crossing the boulevard, near the Italian Theatre,
he was ridden over by a gentleman on horseback ; and though surgical
assistance was immediately rendered, he remained senseless nearly thirty
hours, then expired.

Mr. Osborne, bom in Ireland, bufwho has long lived here, has just
given a concert, in which he exhibited powers on the piano-forte of a
superior kind. M. Chevillard executed with ability, on the violoncello,
a composition of his own ; and M. Tilman, in some variations with Mr.
Osborne, displayed considerable talents as a violinist. Mad. Dorus-
Gras and Mad. Stockhausen, the vocalists on this occasion, very much
delighted the audience, particularly the latter, with her delightful
Swiss airs.

Benefit of Rubini, — The concert given at the Theatre Italieriy on.
Good-Friday, for the benefit of this artist, was attended by all the per-
sons of high distinction in Paris. Mdlle. Grisi sung, in the greatest
vocal perfection, the cavatina of Marliani, which she had introduced in
the Capuleti ; and his duet from the same opera, in which she was joined
by Mdlle. Unger, who executed in a very remarkable manner the grand
air in the Freisohutz, Rubini was inimitable in his air from Niobe.
Ivanhoff sung an air of Pacini, with the most engaging voice imaginable.
We were less pleased with the performance of the magnificent trio from
Guillaume Tell : such music is not understood by Italian singers, who do
not exactly enter into its character. Rubini produced in this piece less
effect than Nourrit, and the ensemble was unsatisfactory. A confusion
of style is always bad. Our best French singers are much inferior to
Italians of the second class in Italian music, and it is but just to allow
them the superiority which is their due in that of their own countiy.

24^

THE MUSICAL UBRARY.

THE THEATRES.

KiNa*8 Theatre.
Before Easter the Opera House was much below par, in the Stock
Exchange language, almost down at nothing, but afterwards it began ' to
look up,' and rose with inconceivable rabidity on the debdt of Signora
Qrisi, who made her first appearance in this country on Tuesday, the 8th
of April, as Ninetta, in Rossini's— masterpiece^ we had almost said —
ta Gazza Ladra.

The name of GiulietU Grisi had been introduced by the usual flourish
of trumpets, in the shape of newspaper paragraphs, long before her
arrival, and, if our opinion can be said to have been at all affected by
such stale and vulgar doings, it was against the bepuffed singer ; our
surprise, therefore, and gratification, were the greater on finding that
she belongs not to that class of which so many had been heralded by the
most undeserved, nauseous praise, but is of the very limited order of
those who unite vocal and histrionic talent of a kind as nearly approach-
ing perfection as we can imagine natural gifts and laborious study
capable of arriving at Signora Grisi is about four or five and twenty
years of age, of the middling stature, well formed, her bust remarkably
fine, with features not only what a painter would admire, examined in
detail, but which in combination produce one of the most intelligent,
handsomest countenances ever beheld on the Italian stage. Her voice is
of the full soprano compass, rather inclining upwards, and excellent in
quality for the theatre, whether swelled out to the utmost of her strength,
or subdued to the greatest degree of softness. Her force in the delivery
of energetic passages nearly equals that which in Catalani excited such
astonishment ; but when quiet grief or tenderness is to be expressed,
her tones become as gentle and sweet as those which charmed so uni-
versally in Ronzi di Begnis ; and whether loud or soft, they are always
in perfect tune. Her teste is of the purest kind, for while great flexi-
bility of voice enables her to execute any of the Jbrilure and tours de
fwce which captivate the mob, she is remarkably frugal in these, disr
daining applause purchased by the surrender of her belter judgment :
though all that she introduces of the kind is performed in so exquisitely
neat, in so finished a manner^ that it is clear she abstains from the fre-
quent use of what are often miscalled ornaments, from a conviction
of their viciousness, when employed as they are by such singers as David,
Rubini, ei hie genus omne.

Signora Grisi's acting is not inferior to her singing. It has been
said, inconsiderately, that she imitates Pasta ; but the true critic soon
discovers that both are imitators, — both have received their impressions
from the same source, and act under the same influence, — Nature is their
only model and guide. If, however, the former had determined to be-
come an imitator, it is reasonable to suppose that she would have chosen
Madame Grassini as her model, for tliat most justly-celebrated performer
>iB both her aunt and instructress.

Tamburini made his reniree as Fernando^ and performed the part
admirably ; as did Zuchelli that of the Podestd, the amorous and wicked
Magistrate. To Rubini's falsetto, and to his style of singing, we are
unalterably opposed ; but it is fiiir to say, that he has the hands at the
Opera decidedly in his favour, and was vehemently applauded, as Gian-
neiio, by the foreigners in the pit, these giving the cue to many of our
countrymen, who in matters of taste, in art and literature, seem gene-
rally to think that ' follow the leader' is a safe game. For want of a
fit person for the character of Pippo, the duet • Ebben, per mia memoria,'
one of the very finest pieces in the opera, was omitted 1

On the 15ih Anna Bolena was performed, in which M. IvanhofF, a
Russian, was. presented to the public, in the character of Percy. His
voice is a high, pure tenor, of power enough, and his intonation is irre-
proachable. He is said, by the French critics, to follow the steps of
Rubini, and therefore to be addicted to extravagant embellishments. He
certainly did not betray this weakness on the present occasion, but sang
in that soslenuto, or sustained, manner which is the very opposite of the
ultra-florid. As far, then, as relates to his vocal qualifications, we are
inclined to think highly of this debutant ; but in person he is small,
.jnean, his visage seems to betray a Kalmuck origin, and is not improved
by moustaches, together with a tuft of hair on his chin. His deportment
is awkward, and thus far he is disqualified as the representative of a
Percy !

Signor Grisi, as Anna Bolena, made the most of music that is really
>unworthy of criticism. With the exception of a terzetto, and part of
the last aria, neither of which possesses much positive merit, the whole
is not merely an imitation, but a tasteless, vulgar imitation, of what the
Italian stage has produced during the last eighteen years. And as to
the drama, we cannot but consider that the English nation is disgraced
in suffering anything so libellous on the character of an unfortunate
queen, 8U(£ an attempt to defend the conduct of the murderous Henry,
to appear on a stage which is under their control The Licenser, Mr.
Colman, had, it seems, in 1831, no objection to the branding with in-
iamy the innocent mother of a highly-honoured queen, or to the justifi-
cation of an atrocious tyrant, though he is always vastly busy in scrateh-

ing out every * O ! Dio!' — an exclamation about as harmless in Italian
as * Oh dear !' in English — that appears in the libretto^ or words of the .
opera, which the manager is compelled to submit to his inspection,—
with a fee of two guineas !

CovENT Garden Theatre.

The French opera, Le Pr6 aux CUrcSf brought out by the English
Opera Company last season, under the title of The Cottri Masque^ was
produced at this theatre on the 1st of April, as The ChaUengey adapted
to the English stage by Mr. Planch6, and with all the music, as originally
written by the composer, arranged by Mr. T. Cooke. Mr. Plancn^, in
preparing this drama on the former occasion, changed the scene firom
France to England, and altered the dialogue to a very considerable ex-
tent ; he now restores the place of action, and, we believe, makes very
little alteration in the dialogue, but he has submitted to have songs and
a duet introduced that do not belong to the piece, thus very much lessen-
ing the merit of having preserved the whole of Herold's music ; for the
integrity of the opera is destroyed by the interpolations : therefore though
the boast of leaving out nothing is justifiable according to the letter, it
is not quite so in tlie spirit of the declaration, which, we apprehend,
implies the whole, and nothing but the whole.

Some part of this music has a good deal of originality in it, and much
of the rest is very agreeable. Herold, in occasionally following the
style of Auber, merely conformed to. the prevailing taste of the French
public, and never intentionally imitated that vivacious composer, for he
was, unquestionably, a man of genius, and not at all deficient in industry.
If he really fell into any manner of writing not his own, it was that of
Rossini, whose music had been forced into him during the three years
that he sat as accompanyist at the The&lre Italien ; and he became so
imbued with it, that he must have found the task a difiicult one to steer
clear of its peculiarities.

The Challenge has not proved very successful, and consequently
Mozart's Don Juan was revived, the principal character by Mr. Braham,
who performed it with the same spirit and eflect as before. Indeed he
seems to acquire fresh power as he advances ; at least such is the opinion
of the public, with whom he is daily increasing in favour. They know
his value, they see no chance of his having a successor, and are wisely
resolved to profit by him so long as his voice remains, which, though
getting lower in compass, has lost nothing of its strength ; while he is
becoming more and more of ^an actor every time he appears on the
staple.

We are promised two great novelties, which have been for some time
preparing, and are now ready to burst forth. The first is a Mas-
querade on the stage, in which the public generally and particularly, men.
women, and children, characters of all kinds, good, bad, and indifierent
— but of course, the good will preponderate — are to be admitted, during
the evening's performance, in tne face of five-and-twenty hundred spec-
tators, upon the payment of certain tribute-money for the privilege of
being reckoned among the figurantes, the supernumeraries, the scene-
shifters, tailors, &c. S^. attached to the theatre. This is something like
a return to primitive manners — to those times when every man was his
own builder, husbandman, tailor, cook, physician, and priest. Each may
now become his own player, and instead of paying others for amusing
him, may amuse himself, at the small cost of some seven shillings or so,
to be deposited in the hands of Mr. Bunn, the arbiter degantiarum of
our dramatic world.

The second novelty is a Lottery, which, though illegal elsewhere, will,
doubtless, be legitimatized when carried on by his Majesty's servants^ in
a legitimate theatre. The value of the prizes is to be about one-tenth
the sum paid for the tickets, and among them are copies of a foreign
opera performed at one of our two National Theatres. Now this is all
right, because, though Mr. Arnold is forbidden to introduce Shakspeare,
Otway, &c. on his stage, while Mr. Bunn is allowed to introduce whom
he chooses on his ; — ^though Mr. Arnold is denied the use of lawful tragedy
and comedy, while Mr. Bunn is suffered to employ lottery-wheels, in de-
fiance of the law ; — ^yet it is all as it should be, for Mr. Bunn's two great
theatres legitimatize all that passes in them, and Mr. Arnold's one small
theatre legalizes only what is accompanied by fiddles and flutes, trumpeto
and trombones.

Well may a Sunday paper, the Spectator ^ ' seriously ' exclaim, ' what
a comment on the monopoly system ! what a burlesque of the cant about
a patent being necessary to uphold the legitimate drama !'

NOTICE TO CORRESPONDENTS.

Tbb communication of '* B Flat " (with hig name, strictly in confidence) will be
acceptable. The quantity about a column.

Our Correspondents must not impute to a want of respect our only answering
those to whom a reply is indispensably necessary.

Errata in our Idui,

Page 8, column 2, line 4 from the bottom, for otker, read others.

— 9, ^— ^— 1, 2, for eaieulatim^ read artietUation,

■ 62, dele was.

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET.

PanvBD n WUJJAM CLOWES^ Dvkm SvanTi Lakbitb.

MUSICAL LIBRARY.

No. III. JUNE, 1834. Pnce Sixpence.

Tbe Music of < Part III.'

Mtuical Fettif als .
Musie in Viinuia ' •

28
30

CONTENTS.

Conceris-^The Ancient
■ The Fhilhsrmonie

Review . • •

32
33

Dtarv of a Musical Amateur
Forebrn Musical Report
The Drama

Page.

34
35
36

THE MUSIC OF PART IIL

Duet— (Page 33).
LoTB in thine eyes for ever plays*
He in thy snowy bosom strays ;
He makes thy rosy lips his care,
And wallLS the mazes of thy hair :
Love dwells in every outward part.
But ah ! he never touched thy heart.

How different is my fate from thine !
No outward marks of love are mine.
My brow is clouded by despair,
And Grief, Love's bitter foe, is there.
Bui deep within my glowing soul
He rules and reigns without control.

The first stanza of this is altered from * the Change/ by Cowley ;
the last« we have been told, is from the pen of him who composed
the musici — Jackson, of Exeter. The original key of the present
duet is E, which for most voices is fowid too high ; hence a com-
position allowedly possessing great beauty is frequently and
reluctantly laid aside : we have therefore transposed it a note
lower, thus bringing it within the compass of nearly every soprano
Toice.

WILLIAM JACKSON^

bom in Exeter, in 1730, was the son of a respectable tradesman,
a grocer^ of that city ; and after receiving a liberal education,
commenced the study of music, an art for which he had irom an
earlv age shown a strone propensity, under the organist of Exeter
Cathecual. He' was then sent to London, and placed under
Tracers, organist of the Royal Chapels, and imbibed much of
that composer's spirit. He afterwards returned to his native
city, andm 1777 was appointed sub-chanter, organist, and master
of the choristers of the cathedral. In 1755 he pubUshed a col-
lection of Twelve Songs, which immediately became popular
throughout the kingdom, and encouraged him to print two other
sets. His Six Elegiee, for three voices, at once placed him amon^
the first composers of his day, and will always be highly valued
by persons of good musical education. His Twelve Canzonets for
Two 'Voices all evince refined taste and true originality, among
which 'Time has not thinned my flowing hair' was long the
favourite of all amateurs, and never has lost any part of its value
in the opinion of competent judges. Mr. Jackson set three
dramatic pieces to music, two of which are forgotten ; while
The Lord of the Manor, composed at the request of General
Burgoyne, the author, is stiU occasionally perfomied, and always
with applause.*

Mr. Jackson made himself known as a literary man, in 1782,
by bis ITiiriy Letters on various Subjects connected with Utera-
ture and science. In 1798 appeared -his Four Ages, together
ftith Essays on various Subjects; and both works show 'the
extent of his reading, the variety of his knowledge, his taste,
judgment, and independence of mind.' He was not an unskilful

* GeiMval Biir^oyiie, in the preface to his opeim, thus mentions the composer:—
** Among all Uie orcnmstances of satisfaction, there is not one more pleasing to the
icAsction than that the bringing this humble production on the stage has been the
■Mane of making me acquainted with a man whose harmony I sincerely believe to be
charselaiitie of his mind, equal to any eiertion, but peeuliariy exquisite whea cx-
~^ ' ) of the social, tante, quiel^ andamiiUe qualitios of the heait.'*

artist, and his landscapes, in which he imitated his friend Gains-
borough, exhibit talent of a superior kind. He died at the age of
73, leaving a widow and two sons, one of whom went to (3mna
with Lord Macartney ; the other was ambassador at the Court
of Sardinia, and afterwards filled a diplomatic oiBce in Paris and
Berlin ; and finally was appointed his Maiesty's Env(^ Extra-
ordinary and Minister Plenipotentiary to the United States of
America.

SoNO— (Page 36).

To a Ni$ktingnle ai Mid^ff,

Thy voice Is sweet, — is sad, — is clear.
And yet, methinks, 't should flow unseen.

Like hidden rivers that we hear
Singing amongst the forests green.

Delay, delay I till downy Eve

Into her twilight woods hath flown :
Too soon, musician, dost thou grieve ;

Love bloometh best (like thought) alone. '

Cease, cease awhile ! thy holy strain

Should be amongst the silence bom ;
Thy heart may then unfold its pain,

Leaning upon its bridal thorn.
The insect noise, the human folly

Disturb thy grave thoughts with their din ;
Then, cease awhile, bird Melancholy,

And when the fond Night hears, — begin !

The music to this is a German song, by the Chevalier Neii-
komm, transferred by us to the above verses, which are from a
volume of EnqUsh Songs and other small Poems, by Barry
Cornwall, published in 1832. That the latter is Sipseudanyme,
is, webeUeve, pretty generally known; one under which a gen-
tleman of rank in the law, in extensive practice as a convey-
ancer, thinks fit to make known the highly poetical and original
Eroductions of his spare hours. The work whence these beautiful
nes are by permission extracted, has been so well received by
the public, and recently so justly commended by critics of aU
persuasions, that it is unnecessary now to add another word in
Its praise.

^ SIGISMUKD ySUKOMM

was born at Salzburg, in 1778, and received his first instructions
in music when but six years of age. He was educated at the
university of his native city, of which he became organist when
he had scarcely completed his fifteenth year. He afterwards com«
menced a course of musical study under Michad Haydn, who
was distantly related to him, and subsequently became the dis*
ciple of the great Joseph Haydn. In 1804 he was invited to
St. Petersburgh, where he was appointed director of the opera^
but a serious illness having compelled him to quit Russia, he
settled for many years in Paris, where he resided with the Prince
Talleyrand, whom he accompanied to England when that
celebrated statesman was sent ambassador to the British Coiut,
though M. Netlkomm had twice before visited London after the
tenmnadon of the war. He has long since retired from all pro*
fessional pursuits, except to compose at leisure; and it would
appear, mm what he has accompushed' during the last two or

THE MUSICAL LIBRARY.

three years, that his imagination is acquiring^ firesh vigour as he
approaches the period when^ in most instances, the fancy loses in
activity what the judgment gains in strength.

Glee— (Page 38).

Hark ! the lark at heaven's gate sings.

And Phoebus 'gins arise.
His steeds to water at those springs

On chaliced flowers that lies ;*

And winking niary-buds begin

To ope their golden eyes :
With every thing that pretty bin,t—

My lady sweet, arise !

From CynAeline, Act ii. sc. 3. An ante-chamber adjoining
hnogen's apartment. — Enter Cloten and Lords.

' Cleten. — It*s ahnost morning, is't not?

* let Lord: — Dav, my lord.

' Cloten. — I would this music would come : I am advised to
give her music o' mornings ; they say it will penetrate.
£nter Musicians.

• Come on ; tune ; if you can penetrate her with your finger-

ing, so : well try with tongue too. If none will do,

let her remain ; but 111 never give o'er. First, a very

excellent good-conceited thing ; after, a wonderful sweet

air, with admirable rich words to it^ — and then let her

consider.'

Then follows the above Song, which Dr. Cooke, some fifty

years ago, or more, set as a glee, and which, in spite of grammar,

we will, in Shakspeare's own language, call " a wonderful sweet

ur," composed to " admirable sweet words."

BENJAMIN OOOKB^ MUS. D.,

was the son of Benjamin Cooke, a publisher of music, in New
Street, Covent Garden. Previously to his father's death, he was
placed under the tuition of the famous Dr. Pepusch, by whose
instructions, aided by extraordinary assiduitv, his progress was so

Sreat, that at the age of twelve he proved himself equal to the
uties of depuly-organist of Westminster Abbey, under Robin*
son, son-in-law and successor to Dr. Croft. On the death of his
master in 1752, he succeeded him as conductor of the Academy of
Ancient Music. In 1757 he was appointed lay-clerk and master
of the choristers of Westminster Abbey; and in 1762 be-
came organist of that collegiate church. In 1777, the Uni-
versity of Cambridge conferred on him the degree of Doctor in
Music. In 1782, after a severe contest, in which Dr. Bumey was
his opponent, he was elected organist of St. Martin^s-in-the-
Fields. In 1784, he was nominated by George III. as one of the
sub-directors of the Commemoration of Handel. He died in
1793, leaving two sons, — Henry, formerly in the Post-office, who
is still living; and Robert, who died prematurely. He was suc-
ceeded at the Abbey by Dr. Arnold, and at St. Martin's by
his second son.

' As a composer,' says Dr. Bumey, ' Dr. Cooke is chiefly cha-
racterized by correctness and learning. He is always eL^ant,
seldom deeply impressive, and rarely evincing a genius that could
soar beyond the bounds of education.' His printed works ar^
two books of Canons, Glees, Rounds, and Duets ; additions to
Galliard's Morning Hymn ; and Collinses Ode on the Passions.
Many of his glees obtained prize-medals from the Catch-Qub,
and some are models of excellence in this style of composition.

Romance — (Page 41).

For the laano-forte, with a flute accompaniment (which, by a little
management, may also be played by a third hand), from Opera
108 of

* ' Hit tttedt to water at iJkotetprmgt
On chatioedflowen that iietf*-^
Ihat if, the morning sun driei up the dew which lies in iiit cnpi of flowers. The
€np of the flower ia called caiix, whence ekaHee. Tfaue ler the eommentetor* hafo
done wdl, but they have notably failed in an endeavour to defend the abominably
fidse concord ; Malone, however, and he only, has the candour to acknowledge ita
heiBOnanees, and ia ingenneuB enough to oonfeaa that he hat always ailently corrected
VMch enoifl, * except where either the metre or rhyme rendered correction impoaaable.*
f JSiJi, by our older writera often used for be. Some of the editors of Shakspeare
alfered this to t>, a reading adopted by Dr. Cooke. Sir Thomas Elanmer Tery pro-
ftAj restored the original word, which pcMtice is BOW iofaiiably fikUoved, and i
hhuj will nsver again be departed fkonu

JOHANN MEPOHUK HUMMBL,

who, considered in the two-fold capacity of composer for and per*
former on the piano-forte, has no living superior. He is a native
of PiQsburff, where he was bom in 177o. At four years of age his
farther made an unsuccessful attempt to teach him the violin, but
in the following year he developed talents for singing and for the
piano-forte which soon attracted the notice of Mozart, who, much
as' he abhorred teaching, undertook the instruction of the young
Hummel. During a two years' residence at Vienna he enjoyed the
advantage of such a master, then travelled with his father through
the chief cities of Germany, Denmark, England, and Holland.
In this country he was especially noticed by the consort of
George III., and many of the nobility. At the end of six years
he returned to Vienna, where he studied composition under Al-
brechtsberger; and afterwards received much information from
Salieri in me dramatic department of his art. In 1803 he was
engaged, at the recommendation of Haydn, by the Prince
Nicomus Esterhazy, whose service he quitted in loll, when he
devoted himself to teaching, making occasional journeys to Berlin,
Leipzig, &c. From 1816 to 1^18 he was in the service of the
King of WUrtembers, as Maestro di Capella ; and from the latter
year has resided in the same capacity at Weimar, where his chief
occupation for some time was the instruction of the Grand
Duchess. But during this period he visited St. Petersburgh
and Moscow, Amsterdam and London, and with the most decided
success, both as regards his feme and fortune. His first ap-
pearance in this metropolis, since his childhood, was in 1 83 1,
when he gave concerts, which were exceedingly profitable. He
renewed his visit in 1832, and was again successnil. Last year
he once more returned, but the attraction of novelty was much
diminished; and the parsimonious manner in which he got up his
concerts offering no temptation to the public, his room was
deserted, and his stay of short duration.

The works of Hummel are very numerous : among these his
Mass in b flat and his Opera, McUhilde von Gtdse, display the
most science, but his Concerto in A minor, his Septet, and his
Grand Duet, Op. 92, have mainly contributed to his celebrity.
In his compositions he exhibits more knowledge of effect, and
more refinement, than originaUty. As a performer he is distin-
guished by deEcacy of taste, an admirable equality of touch, and
wonderful neatness of execution, rather than by pathos or expres-
sion. He always satisfies, often delights, but rarely surprises his
hearers. His own feelings are not strong, and he seldom excites
the deeper pasuons of his auditors; but he never fails to leave an
agreeable impression ; and above all, scorns to purchase the noisy
applause of the mob, at the expense of his reputation with those
on whom his fame must ultimately depend.

Am AND Variations — (Page 44).

From Beethoven's fifth quartet. Opera 18, we have selected, in
addition to the Air, the second and fourth variations, with part of
the fifth, as best suited to the piano-forte and the general per-
former. The use made of this subject by Signer Carafa, in his
Aria, ' Aure felici,' will not escape observation ; and we cannot
avoid pointing out to our readers the ease with which a reputation
may be established by a single melody, not invented, but bor-
rowed. Signer Carafa's fame was built on this air ; we know of
nothing else bearing; his name that has attracted the least notice.
But how does it redound to the honour of Beethoven, that a scrap
from one of his least -known works has alone proved sufficient to
make the name of another popular throughout Europe!

MiNUBTTO — (Page 46).

From the 3rd Sonata, Opera 10, of Beethoven. The work
whence this is taken, dedicated to the Comtesse de Browne, will
in a very few years be more generally known than at present; it
is full of rich things, and not beyond the powers of any mode-
rately good performer. We shall make further use of this early
and excellent work of the composer.

March — (Page 48).

From Rossini*s fine serious opera, Semiramide. The originality,
and at the same time popular character, of this March, have been
our inducements for introducing it here. We shall take an
early opportunity of mentioning the composer more particularly.

THE MUI^CAL LIBRARY.

OvBRTURE — (Page 50)

To Le Nozze di Figaro (Figaro's Wedding), Mozart's admirable
comic opera^ wluch divides with his Don Giovanni the wonder
and applause of the musical world* Though inarked presto,
this may be played too quick; a fact often proved at the
King's Theatre^ and sometimes even at the Philharmonic
Concerts.

Canzonet — (Page 4l)«

{Tke Bfermaid.)

Now the dancing gunbeams play

On the green and ffrassy sea!
Come, and I will lead the way»

Where the pearly treasures be.
Come with me, and we will go
Where the rocks of coial grow :

Follow, follow, follow me I

Come, behold what treasures lie

Far below the rolling waves !
Riches hid from human eye

Dimly "^ shine in ocean's caves.
Bbbing tides bear no delay.
Stormy winds are far away :

Follow, follow, follow me !

With this Haydn commenced his first set of Canzonets f. Its

faiety and strongly-marked rhythm please all, even those who
ave not taste enough, or are not sufficiently accustomed to music,
to enter into its other beauties. If from nervousness, or actuated
by a desire to display nimbleness of finger, the accompanyist
hurries this, the effect will be seriously injured. If we may trust
the impression made on us at a very early age, the movement
now marked by the metronome is exactly that of the composer.

JOSra»H HATDN,

the father of nearly every species of modem music, that of the
iBetrumental kind more especially, was bom in Austria, at
Bohrau^ a villa|e a few leagues from Vienna, on the 31st of
March, 1732. His father, a master-wheelwright, played a little
on the hsLrp, and his mother sang to her husband's accompani-
xnent ; hence probably their son's early bias towards music. . At
an early age he was sent to school, where, as is the custom in
most parts of Germany, he was taught singing, as well as writing,
reading, and the Latin grammar. He afterwards became one of
the choristers of the cathedral, St Stephen*s> where he continued^
and was well instructed in singinc, on the harpsichord and the
Tiolin, by Renter, nwuiro di capeUa, till he had completed his
eighteenth year, when his voice changed. He was now left to
depend on his own exertions, and supported himself by giving a
few lessons, and occasionally playing at concerts^ but assiduously
applied to the study of his art, reading the best writers on tbie
subject, especially Fux and Mattheson, and practising the
aeofttas of Emanuel Bach, whom, as he stated to Ur. Buraey, he
took as his model in writing for keyed instruments^. At about
aiz-and-twenty he was introduced to Metastaaio, who made him
affqnainted with Porpora ; and from the one he acquired valuable
information on the subject of setting poetry to music, and from
the other more extended knowledge and views of composition.
In the house of the great lyric poet he also heard the Italian
language spoken in its utmost purity, an opportunity by which he
did not fail to profit very largely. In 1759 he entered the
aervice of Count Marzin, as director of his music; and in 1761
accepted the same office in the palace of Prince Esterhazy, in
whidi he remained to the end of his life.

At an early age he produced his first quartet : and shortly
after composed an opera, Le DiabU BoUeux, the performance of
which after its third representation was forbidden, on what
account is now unknown. For many years bis productions
wsere chiefly of the instrumental kind, and most of these are, per-
haps fortunately, forgotten. But his Siabat Mater, his oratorio,
JZ Ritomo di Tobia, and some of his early sonatas, quartets, and
symphonies were indications of future greatness that could not be
misunderstood. His genius^ however, did not shine in its fullest

• Quay, Mghilg t
I* B—f^ 15 of tha SunplnMiit.
t 1m nifiiiag ths compoMtiont of this dons by £. Book aad Haydoi wo an
waUm tboi «« havo new boon abk lo traoo may thing that woold havo Jod nt
thai tho 090 had MKwAss llM nsdol fo tho othMw

splendour till rather an advanced period of life. In 1791 ha
arrived in this country^ under an engagement with the liberal
violinist, Salomon, for whose concerts ^t year he ^vrote the first
six of his twelve grand symphonies. About the same time he
composed his two Bets of canzonets, and many of his best quartets
and sonatas. In 1795 he again visited London, at the invitation
and risk of the same s(>irited manager, when he produced the
last six symphonies. The year 1/98 — Haydn then having
arrived at the age of sixty-six — gave birth to his CreaiUm, which
was first performed in the Sehwartzenberg palace, at the expense
of the Dilettanti Society of Vienna. Two years after tms he
composed his oratorio. The Seetsone; and, subsequently, his twe
last sets of quartets, which betray no abatement of his vigour ;
on the contrary, the second of ms op. 80 is perhaps the most
original and exquisitely finished of all the works of tne kind that
ever proceeded from his pen. When his Creation reached Paris^
the IntHtut National of France elected him a member, aa
honour which was contested with him by some of the greatest
men of the time in Europe : but the decision was just, for who
among all the candidates had contributed so much to the present
and future happiness of civihzed nations? His very few remain-
ing years were spent in the enjoyment of a great and well*
earned reputation, and a small independence created by his
talents ; and what may be called the last hours of his tnortal life
were crowned by honours. He died at Vienna, on the 29th.
of May, 1809, and was privately buried at Grumpendorff, his
country then suffering from all the horrors of war, and the capital
of the empire being m possession of the enemy. He had beea
married, but not happily^ and lefV no children. His property^
except about five hundred pounds bequeathed to two faithful
servants, came into the hands of a blacksmith, his distant re*^
lation. His works are so numerous, that we cannot here give
a bare catalogue of them. Many are lost for ever, the only copies
having been destroyed in the fire which consumed the palace of
kis patron. Prince Esterhazy, at Eisenstadt ; but the greatest of
them remain, to uphold his &me, and charm future generations
of mankind.

Aria — (Page 44).

, in hm chamber, full of gloomy forabodagi^ md fritluiig^
feaiing, tha aixiTal of OteUo, siiigt— )

Deh calma, o ciel, nel sonno
Per poco le mie- pene !
Far che I'amato bene
Mi venga a oonsolar.

Se, poi son vani i preghi,
Di mia breve uraa in seno
Venga di pianto almeno
11 ceaeie a bagnar.

but half

TranMlattd to suit the music.

Oh calm, kind heaven, in slumber

My sorrows for a while.
And send my best beloved

My anguish to beguile.

Bat if my prayers are fruitless,

Let him at least return
To bathe, with tears of pity»

The dust withhi my urn.

From act u. scene 8 of the tragic opera of Otdlo, altered
Shakspeam by the Mardiese di Berio, and compoeed by

Round— (Page 45).

Wind, gentU evergreen, to form a shade
Around the tomb where Sophocles is laid.
Sweet ivy, wind thy boughs, and intertwine
With blushing roses, and the clustering vine.
Thus will thy lasting leaves with beauties hung^
iWe grateful emblems of the lays he song.

Said to be a translation of a Greek epigram^ but we have
been able to traoe it to its source. The miitie bgr the
Hayes^ of Os£wd» whom we dhaU hereafter hMO
mention more particularly.

^ ' D2

THE MUSICAL LIBRARY.

Cantata — ^Mad Tom — (Page 46).

Forth from my dark and dismal cell.
Or from the deep abyss of hell.
Mad Tom is come to view the world agaii.
To s^e if he can cure his distempered teain*
Fears and cares oppress my soul ;
Hark ! how the angry furies howl !
Pluto laughs, and Proserpine is glad *
To see poor naked Tom of Bedlam mad.

Throuffh the world I wander night and day.

To find my straggling senses :
In an angry mood I met old Time,

With his pentateuch of tenses.

When me he spies.

Away he flies.
For Time will stay for no man.

In vain with cries

I rend the skies.
For pity is not common.

Cold and comfortless I lie :
Help ! O help ! or else I die.

Hark ! I hear Apollo's team,

The carman 'gins to whistle :
Chaste Diana bends her bow.

And the boar begins to bristle.

Come, Vulcan, with tools and with tackles^
To knock off my troublesome shackles ;
Bid Charles make ready his wain
To bring me my senses again.

Last night I heard the dog-star bark ;
Mars met Venus in the dark ;
Limping Vulcan het an iron bar.
And furiously ran at the god of war.

Mars with his weapon laid about :
Lunping Vulcan had got the gout —
His broad horns did so hang in his sight.
He could not see to aim his blows aright.

Mercury, the nimble post of heaveny

Stood still to see the quarrel ;
Garrel- bellied Bacchus, giant-like,

Bestrid a stronjg^-beer harrel.

To me he drank ;

I did him thank.
But I could get no cider:

He drank whole butts.

Till he burst his guU,
But mine were ne'er Uie wider.

Poor Tom is dry :

A little drink, in charity !

Hark ! I hear Actseon's hounds !

The huntsmen whoop and halloo :
Bingwood, Rockwood, Jowler, Bowman,

All the chace do follow.

The man* in the mooii drinks claret,
Eats powder*d beef, turnip, and carrot ;
But a cup of old MAlaga sack
Will fire the bush at his back.

This rhapsody was for many years given to Tom D'Urfey^ but
there is now little doubt of its having been written by another.
Izaak Walton, in his ' Complete Angler/ — and honest Izaak is
an authority to be relied on — inserts a song in praise of the
Angle, which he says was written at his request by 'Mr.
William Basse, one that has made the choice songs of The
Hunter in his Career^ and of Tom of Bedlam, and many others
of note.' Percy gives this with the original orthography. Ritson
prints it with the orthography modernized, and with the verbal
alterations apparently made by or for the composer. We are of
opinion with Ritson, that Purcell is the composer of the song,
(or more properly, cantata, as now denominated,) though it is
not included in the Orpheus Britannicus. But in our possession
is a copy of it, (the melody only,) published in a couection of
Purceirs worl^, few years after his death, by Walsh, a man who
must have been pretty well acquainted with the fact, and whose
character leads us to believe that he would not intentionally

: have misled the public. Besides which, we have the best
TeasoQ'that tradition can afford for ascribing the composition to

. the great English musician. .. - .

Purcell — if he be the composer— -set only one half of the song;
the remaining part, which we have here separated from the other,
was meant, we conclude, to be sung to the same notes as the first.
So it appears in our copy. Few, however, will be inclined to
lengthen the composition, good as it is, by such a rant.

About the beginning of the last century, a considerable addition
was made to this song, by an organist, George Hayden, a man
of considerable talent, who composed ' As I saw fair Chlora,* and
for whom words were written, in substitution of the latter half of
those by Basse. It is thus now sung by Mr. Braham, with the
effect he imparts to any thing of the kind he undertakes: but
our object is to give what we presume to be Purceirs only, and
to this we have added an accompaniment, with four bars of
introductory symphony.

We shall notice Purcell hereafter.

Nocturne — (Page 48).

* Je n'aimerai jamais/

Disait une jeune berg^re.
' Ce sont des vains projets,'
Lui reprit on, * ma chere ;—

* Ni jamais, ni toujours,

* N'est la devise des amours/

' Moi, je vous aimer/
Dit son berger fidele,

* Toujours ; et vous jurer' —

* Ne jurez point !' dit elle ;

' Ni jamais, ni toujours,
N'est la devise des amours/

Helas! en moins d'un an

La belle fut sensible*
L'amant fut inconstant ;
La chose est bien possible:-—
Ni jamais, ni toujours,
N'est la devise des amours*

This very pretty duettino is the composition of Madabib
Sophie Gail, a lady of some fortune, who by her talents made
herself well known in the literary and musical circles of Paris a
few years ago, but is now no more. To an excellent taste, say»
the Dictionncdre des Musiciens, she added a knowledge in har-
mony and composition that few possess.

Madrigal— (Page 50).

As fair as morn, as fresh as May, i

Appeared my Flora, bright and gay, >
Warbling forth a roundelay ; J

When love, enchanting in her eye.
Inspired me thus my doom to try.—
' Accept, my dear, a faithful heart.
That from you never will depart.'
^he smiled, then sung her roundelay ;
Then frowned, and bade me haste away.

Had the music of this not been infinitely better than the'
poetry, it would never have found its way into our work. Wilbye, '
says Sir John Hawkins, was ' a teacher of music, who dwelt in
Austin Friars, about the year 1598.* His madrigals are equal
to the best that appeared during the period when this kind of
composition shone forth in all its splendour.

MUSICAL FESTIVALS.

A Brief History op British Musical Festivals for Cha-
ritable Purposes, to the Year 1783.

The author of ' An Account of the Grand Musical Festival held
in 1823, in the Cathedral Church at York,** has commenced his
full and laborious history of that meeting by a notice of all per-
formances of the kind, for charitable purposes, that have taken
place in Great Britain, of which any records remain or any
authentic information could be obtained. As his work is in few
hands, and never travelled much bevond the confines of the
county most interested in its details, the following extract from
it will doubtless prove interesting, at a moment when public atten-
tion is turned to the subject by the preparations making for the
festival about to take place in Westminster Abbey, and by the
inquiries and retrospections to which, these naturally give rise.
The author does not break off at the year 1783, but inserts an

• By John- CrotMi Eiq., r.SJL., FJL&L^ Ac. Ac

THE MOSICAL LIBRARY.

'abridgment of t)r. Burney*s histoiy of the" Commemoration of
Handel, which he follows up by a shght notice of the subsequent
perfonnanoes under the' same' patronage, direction, and roof. We,
nowever, only avail otlrselves of his pages to the above year,
having in our former Numbers given, from the same volume which
supplied him with information, and from documents in our pos-
session, an account of that festival and of those by which it was
succeeded.

The first instance in which music appears to have been for-
mally introduced in aid of charity was, so far as our inquiries have
extended, at the Anniversary of the Sons of the Clergy, in 1709,*
when the celebrated Dr. Atterbury preached at St. Paul's, from
which time the practice was continued until 1739, when, by a
mutual agreement, the (Royal) Society of Musicians engaged to
provide a band for two annual performances for the sum of 50/.,
which performances are well known to take place in St. PauFs
Cathedral in the month of May, and at which the Overture to
Esther has been so constantly played almost ever since it was
composed, that it now seems in a peculiar manner dedicated to
the service of the church.

The unbroken continuance of this charitable union to the
present day is also characteristic of the next recorded instance,
"which occurs in the year 1724, in the institution of the meeting
of the three Choirs of Gloucester, Worcester, and Hereford. This
excellent charity for the relief of the widows and orphans of the
clerCT of those dioceses owes its origin in the former year to
Dr. Thomas Bisse, Chancellor of Hereford, who availed himself
of a previous meeting of the members of those Choirs in rotation,
for the purposes of festive harmony, (the date of which is not
known,) to propose a collection at the Cathedral door, which
accordingly produced the sum of thirty guineas. The annals of
this meeting fiirnish many valuable data, not known to Dr.
Burney, towards tracing the progress of music generally, as well
as in its application to charitable purposes ; and its example had
doubtless great effect in promoting similar attempts, many of
which may have been made on a small scale in various pro-
vincial towns during the middle of the last century, of which it
is next to impossible to collect any certain information.

Charity is said to beein at home, though it ought not to end
there. The strains of harmony, however, appear to have been
employed to soothe the pains of others, before her sons availed
themselves of her attractive powers. But, in 1738, just at the
time when the original and pleasing melodies of Dr. Ame began
to have a powerful influence on the national taste, and to form an
era in English music, the institution of the Fund for the Sup-
port of Decayed Musicians not only provided relief for the indi-
gent and distressed, but set an example which has since been
Allowed by other associated -bodies in this country, at Vienna,
and in other parts of Europe. By rather a singular coincidence,
Handel, then in great pecuniary straits, was, with the utmost
difficulty, persuaded to appeal to the gratitude of the public, and
cleared 800/. by a benefit concert on the 28th of March this
same year. In 1739, the Society held its first benefit, at which
Handel himself performed; Alexander's Feast, and a new Con-
certo composed for the occasion, being among the pieces. . In
1740, though nearly ruined himself, ne benevolently gave Acis
and Galatea, with his own performance of two new Concertos on
the orean, a species of music wholly of his own invention, aixd
in 1741, the Serenata of Parnasso in Festa, better known as the
Oratorio of Athalia, for the benefit of the Institution, to which
he also bequeathed the sum of lOOOZ. In the autumn of this
latter year, Handel, unsuccessful in his operatic attempts, and
I^arassed by the opposition he met with from the powerful patrons
of Senesino, the smger, who had offended him, paid a visit to
Ireland. It is stated in the memoirs of his life, (1/60,) that the
Messiah, which he had composed this year, ''met with a cold
reception** in England, previous to his departure; and Dr.
Burney, in his account of the Commemoration, endeavours to

^ This M the date Mugoed by Mr. Lysoiu. Dr. Burney, in liie third volume, p. 486,
and from him all compilers of the Life of Purcell, says that Purcell's Te Detnn, com-
posed in 1694, was penormed at these ineering«,from hisdeaih, in the followiu}; year,
to 1713^ when-Handel produced has Utrecht TV Drum, after which they were alter-
Bately performed till 1743, when they wen* sujNfrseded by the Dettingen. Perhaps Mr.
Lysons is more correct in the date of tho first introduction of muvic, thoup^h the meet-
ings were held in 1^95. The following year, 1710, is remarkable in the annals of
aoaie for the estabUshment of tbt; Academy of Ancient Mnsic, by Dr. Pepusch and
aibei% aad for the arrival of Uande) in this country. In that year also the works
^of Gorelli, tbongh pveviously eiiculatedia MS., were fint printed for sale in England.

palliate this nationardisgrace, by ascribing its miscarriage wholly
to the resentment of Senesino's patrons.

In the fourth volume of his History of Music, however, it is
made evident, from the total absence of all newspaper record^
whilst his other performances are duly mentioned, and from the
testimony of persons then living, that thei*e can be no foundation
for the original statement ; which has, nevertheless, continued to
be copied by subseouent biographers of Handel, except in the
life contributed by Dr. Burney himself to Dr. Rees^ Cyclo-
paedia, where he leaves the question untouched. It is imme-
diately connected with our purpose to mention, that this stan-
dard composition, which certainty appears to have been first per-
formed in Dublin, and which it would be impertinent to eulogize,
was also, at its first performance, 'consecrated to charity, being
given by its author for the benefit of the city prison ; an act of
generosity and benevolence which met with universal approbation,
as well as his music. In 1742, on his return to England, it was
received with rapturous applause ; . " and from that time to the
present, this great work has been heard in all parts of the king*
dom with increasing reverence and delight; it has fed the hungry,
clothed the naked, fostered the orphan, and enriched succeeding
managers of oratorios, more than any single musical production in
this or any country. This sacred oratorio, as it was at first called,
on account of the words being wholly composed "of genuine texts
of Scripture, appearing to stand in such high estimation with the
pubUc," Handel resolved to' perform it annually for the benefit of
the Foundling Hospital, and personally directed the execution of
it until his death, after which it was brought fon^^ard by Mr.
Smith and Mr. Stanley until 1777, producing in twenty-eight
years a sum of 10,000i. He also presented an organ to the
same charitable institution, and bequeathed to it the MS. score
of the oratorio.

At the annual meetings of the Three Choirs before named, the
performances lasted originally for two days, but were extended
for three evenings at Hereford in 1753, and at Gloucester in
1757, for the purpose of introducing the Messiah, which was
enthusiastically received, and has been performed ever since;
they were further extended to three mornings in 1758, at which
they still remain. For many years the Te Deum of Purcell, and
that of Handel composed for the peace of Utrecht, were alter-
nately produced, until the latter was superseded by liie Dettingen
in 174o; the tickets were 2s. Hd., and the leader's remuneration
did not exceed a sruinea and a half. In 1752 the price of admis*
sion was advanced to three, and in 1758 to five shillings. From
such small beginnings did the present provincial musical festivals
take their rise ; but, as in matters of infinitely higher interest, so,
in a measure, we may say in this, who shall despise " the day of
small things ? "

During this early period of our musical annals, and for some
years afterwards, the evening performances consisted chiefly of
oratorios — those in the morning of anthems and the Te Deum.
The first time that an oratorio appears to have been given in
the morning was in the instance of the Messiah, at Hereford, in
1759; and in 1760 a tribute was paid at Gloucester to the
memory of its illustrious author, by the introduction of an ode
composed by Dr. Hayes, who had succeeded Dr. Boyce in
the direction of the meetings. In (753 the modem arrangement
of a miscellaneous concert appears for the first time in the evening
at Hereford; and in 1770 at Worcester, when Miss Linley, 'the*
most accomplished singer that this country had produced, made,
her first appearance ; the preceding year, 1769, had witnessed
in, the instrumental department that of Fischer and CrosdiU.
Miss Linley having, under circumstances of some interest, be«
come the wife of the celebrated Mr Sheridan, in 1773, great
fears were entertained that she would not fulfil her engagement
at Worcester ; but Mr. Sheridan kindly gave his consent, and
presented the sum of one hundred guineas, which was to have*
been her remuneration, to the charity. On this occasion, (as in
a recent occurrence at .York,) so great was the anxiety of the
public, that her arrival was officially announced ; nearly 140O
persons assembled to hear the Messiah, and, " at the close of
the meeting, she took leave of an admiring public, in the full
lustre of unrivalled talents, leaving the minds of an enraiptured
audience impressed with a remembrance, not soon to be eradicated,
of her: sweet and powerful tones, and charmed with her generosity
and benevolence.*'

In 1772, the celebrated chorus singers from Lancashire « and
the North of England, led by Miss Uadcliffe, havifig been intro-

THE MUSICAL LIBRARY.

duced to the »doe 6t 'die pdblic^ made ihmr ftrst appeasnoe wX
Gloucester. Amon^ their numbers was Miss Hamm» ifbo in a
short time rose to distinguished eminence ; destined, like her pre-
decessor Miss lAnley, to accelerate the triumph of English vocal
met, Bnd, like hen as quickly to retire into the shades of domestic
life. In 1778 she was first engaged at one hundred guineas,
then the usual compliment to we principal singer. She after-
wards became the wife of Joah Bates, Esquire, the well-known
conductor of the Commemoration of Handel, and died his
widow in December^ 1811^ with the reputation of being the most
perfect mistress of the true style of executing the compositions
of that great musician. This year, 1778, on the very morning
of the meeting, Mr.' (then maaier) Hanison's voice unfiMtu-
nately broke, and threw him for some time into the shade. Thrse
years afterwards, he appeared as nrincipal tenor singw, and
quickly reached diat high place in the public esteem, as a das-
aieal performer of correct taste and pleasing style, which he re-
tained until his death, in 1812. In the opemng of the JlfeMto&,— -
iriiich, at the Commemoration in 1784, by the «pres8 command
of his Majesty, who ' had heard him in private, was allotted to
him, although there were much older competitors for that honor, —
lie particularly excelled ; and he succeeded in the line of his
parts to Mr. Norris ; as his place in the legitimate transmission
of the elder style may now in turn be consSered to be filled by
Mr. Vaughan.

Under the silent operation of the hand of time, various
changes were now gradually taking place in the arrangements of
meetings of this nature, which were extendiog themselves to dis-
tant countries. The custom of presenting entire oratorios was
beginning to give way. Selections were preferred ; and in 1783,
tile sacred music at Hereford was exclusively confined to the
mornings, the evening performances consisting wholly of misoel-
laneous concerts. Among the countiy meetings just alluded to,
there is one which dates its origin nrom about this time, and
which, being periodically continued, has obtained an extensive
and well-deserved celebrity, while it has, under the most aUe
management, essentiaUy contributed to diflfuse eood taste and a
diseriminating judgment in the science of music. Of the Bir*
minriiam Trienniaf Festival it is recorded, that it originated in
1778 : of its proceeds, 170/. was given to the (Seneral Hospital,
and the remainder towards erecting the church of St. Faul.
Die second meeting was held in 17o4, when the surplus was
70SI., since which time it has been held triennially, except in
1793, when the theatre of that town, in wU^ the concerts were
lield, was burnt down.

MUSIC IN VIENNA.

Son Account of the Society op the Fbiends of Music
IN Vienna, and of the Conservatoire connected with it.

In 4he year 1811, the Society of the Friends of Music of the
Austrian Empire was established in Vienna, not only for the
p g tf or m ance of music, but principally with a view to the ad*
mnCement of the art generally, and more particularly Xhm musical
education of youth.

^The Society is always under the patronage of a priaee of the
frigning house; and its affairs are conducted by the president,
seerelary, and a double committee. The members are, the
actual perlbmers, individuals su p p oiiiiiB the institution with
thair countenance and assistance, and the honorary members.

The present patron is His Imperial Highness Archduke Anton.
JVestdent (Moanf); Vice-President, AuUc CounciHor Raphael
C eo fgo Kieeewetter; Secretaries, Cbuhcillor irf Justice Sonnen-
leiteer, and Johan Baptist Jenger; Managing Committee,
tweke members ; Representative body, fifteen members. Ilie
total number of members is 915; and among them are to be
fcund, besides the names of the princes of the house, who are all
sujpporting members, others of great cefebrity, riz., Kiesewetter,
Oyrowetz, Pechaezek, Weigl, l^yfried, Eybler, Miari, Caemy,
Stift, Grillparser, Artaria, RocUitz, Huinmca^ ClierubiBi, Lesaeur,
BoMiBi, Spohr, Boiddieu, Fetia, Ac.

The handsome newly-erected buildittg, and a valuable col-
leolion, constitute the whole weakh of the Society; and all the
openses are defrayed out of the annual subscriptions, dona-

tlSHt'Ac.

IM^af Ae SodOy and mdhod of mtkming U.-^Th» ftrn^

cipal olgect of &e Society is the advancement of nmsie; personal
performance and enjc^ment are secondary objects.

Much has already been effected by the persevering activity
which has been manifested, and the sphere of action of the
Society becomes more and more extended from year to year.
The Conservatoire, the musical performances, the collections of
all kinds, and the feature of affording pecuniary assiBtance to
needy musicians, deserve particular notice.

The Cofuervatoire. — ^Ihe establishment of an institution for
musical instruction was an original feature in the plan of the
Society, but this design was not accomplished till the year 1806.
The importance of this music-school will be obvious when it ia
known that, besides the superiors and inspectors, it employs ai9r
teen teachers of music, and toere are upwards of two hundred
children instructed free of exjpense, in Italian, declamation, sing-
ing, performing on various instruments, in thorough bass and
composition.

The Conservatoire has already produced several singers and
instrumental rirtuoei of great celebrity.

Mtuical Peffomumcea. — ^These are of three kinds ;-r-the annual
probationary concert of the pupils of the Conservatoire, to which
the admission is free to the public ; the usual winter concerts, and
grand oratorios and cantatas. The winter concerts, four of which
are given in the season, are very similar to all concerts in great
towns ; the music, however, is mostly exclusively classical, and a
symphony of Beethoven is generally given at the commencement
Und at the conclusion of every concert ; and, as misht be ez««
pected from the co-operation of upwards of two hundred musiciana
who have been in toe habit of jdaying together for years, tha
performances are remarkable for the correctness and precision of
their execution.

On extraordinary occasions, also, oratorios and cantatas are
performed, the orchestra and choruses alone usually consisting
of more than four hundred individuals*

The Colledum, — ^The Society possesses a very rich treasure i^
music, musical instruments, books on music, specimens of early
publications and manuscripts. The first step towards the accu*^
mulation of this store was the purchase of already existing
collections, which have been very considerably enlarged by subse^
({uent additions and presents fitMn the members, andwhicn is still
constantiy increasing. By such purchases the Society acquired
the musiod library of Ernst Ludwig Gerber, Gloggl's museum^
and a collection of sixty-two portraits in oil« w celebrated
musicians.

The most valuable presents which the Society has received, aiw
Sarti^s Collection of all the Russian National Songs, never puh»
lished, and a collection of scores of Russian church music, froaa
the Grrand-duehess Maria of Saxe Weimar; Hi^dn^s TenCom*
mandments, in his own handwriting, from M. Von Grisinger ; a
considerable number of specimens of printed music, oi the I6tli
and 17th centuries, preserved in a church at Lubeck, presented
by that city ; a collection of one hundred and fifty portraits from
Johan Baptist Geialer; — and the whole of the musical colleclioft
of its first patron the Ardiduke Rudolph, in OUmutz, bequeathed
by will to the Society.

A rich source for the continual increase of the collection of
books and music was established by a decree of the government^
that of every printed or lithomimed niece of music^ or book
relating to music, which should be puolished in the empire, a.
eopy would be presented to this Societv. The collection hat
dms already increased to such an extent that a similar treasure ia
probably not to be met with in any other institution of the kind*

The fibrary, properly so called, contains nearly thirteen hun*
dred complete musical works, and everything is here collected
which has been written on music in the old and present timea*
Certainly, there is no musical library equal to it in all Germany;.
Among tiie rare and valuable works to be found here, am
Gerber's Lexicon, with the supplement in the author's hand*
writing, — Institutiones HarmohicsB, by Zarlino, — Hamonia Unk
versalis, by Mersenne, — Dodecachordon, by Glarianus; — and
above all, a/ac eimile of the celebrated Antiphonarium of Pope
Gregory the Great. The collection of music is naturally veiy
important, and comfffises the practical works (more than eign
thousand in number) of all the distinguished composers from tha
olden times up to the present day.

The scores of the important works «nbrace, without any oem^
siderable chasms, all aees, and all celebrated masters, and
" to upwavdft of sateen hundred; those of Palestrim^

THE MUSICAL LIBRARY.

Sebastian Bach, Handel, tlie brothers Haydn, Mozart and
Beethoven, being perfect, and occupying entire presses.

The imperial dominions — and particularly Bohemia and^
Austria — had always a great number of distinguiidied artists, and'
more* especially of celebrated mudcians and composers. In
Bohemia, a Lexicon, by Dlabacs, appeared, in order to preserve
a grateful recoUection of its artists ; but finr the Austrian com-
posers nothing similar existed, and nowhere was any information
accessible respecting their lives and productions. The Society
now resolved to supply this deficiency, and in the year 1826 a
very earnest request was made, not only to all the living com-
posers, but also to the public at large, to collect and forward to
the Society the most accurate information to be obtained regard-
ing the lives and works of the Austrian musicians and composers.
This appeal was attended with the most successful results, for the
Society is already in possession of more than two hundred biogra-
phies of celebrated composers and musicians, and the number is
rapidly increasing. One important source of information which
stands at the command of the committee, is the access which is
afforded to the collected autographs and MSS. of almost all the
c<»nposers of the country.

A special committee was also mpointed to carry into effect the
proposal to collect the portraits of individuals of eminence, either
as practical musicians or as composers. This collection, com-
prising splendid paintings as well as simple wood-cuts, com-
lotenbed with the acquisition of Gerber's Kbrary, and Greisler's
portfbHo ; and a point of great interest connected with it is, that
we here find likenesses of the greatest masters taken at different
periods of theh" lives ; thus, for instance, the spectator may con-
template the features of Mozart, in childhood, youth, and man-

'The collection of instruments, or as it is designated, the
' Museum of the Society,' though not sufficiently important and
fiiU to yield any satisfactory information respecting the ori^nal
mde construction and subsequent progressive improvement of any
nrasical instrument, contains nevertheless many valuable speci-
mens; the Lintz museum was the first ^purchase, and shortly
afterwards it was enriched by the contributions of the celebrated
cnrientalist Hammer.

AMsUiance out of the Funds. — It appears from the rules of the
Society, that one of its important features is to support talent, —
t>y rewards to such pupils as distinguish themselves, — by assist-
aoee to reduced musicians and composers,— and by the proposal
of prize subjects.

The distribution of the rewards to the best pupils takes place
annually at the public probationary concert, when silver misdals
CHT valuable musical works are presented as acknowledgments of
past application and perseverance, and encouragement to further
attely.

'Remuneration for their productions has also been hitherto
made to composers in bad circumstances, and assistance afforded
ta the incipient artist, as liberally as the circumstances of the
Society would allow.

On the other hand, up to the present time, no prize subjects
have been proposed.

CONCERTS.

ANCIENT MUSIC.
nrra concert, WKDNSSDAT, the 23rd ofAfril.
Undn fbt Dbedion of Loao Bus

ACTX.

lAsUwm. fiodMvetiwlilkig.

T«Deuiii. (Ma)

SoDg. < Vm che Mpeto.' Mn. E. Seguin. (Figaro.)
Qoaitctio. Pladdo S il mar. (Idomeneo,) • •
mtag. «naF«UofZimi.' Mr. Machiii. .
Qlc0. <Thonartb«autilia, QnM&oftheVaUey.'

)

MadrigaL ' Strider &ceYa.'

lUdt 'AndOodiaSd.'

Song.

Chorus.

Quartet.

Grand

Redt. <01et

> 'NowlMayniafbDHl^orj.* f Mrt. E.^guiii. (On

us. ( Glory to God.' • . 1

rtet ' O Lord, have mercy.' ? » • • •

id Chorus. < The Lord is gieaft.' J

t. < O let eternal hmoms.' 1 wu. w «e.i ^c^^^ i»^..

LucA Marsksio, I52T»
(Cnmium.') ^atsi^

Song. « From mighty kings.' J »rs.H.»shc^ (Jmdat MStee.)
Duetto. «QualAaelaiilv.' lfie8.H;BU»epMd]fiss Shimai
Recit ' Sposa— Euridioe.' 1
Song. « Che fard. • j

G.Griai. (Offeo.)

Chofoik * When his loud voioe.* {JepktkaJ)

Bbitkovw*.

Hahusl*-

Makcbllo*

• Glucs*

HaII9B&*

• Lao.

MoSA«T.

MOXART*

pAXaOELLO.

Caucott.
Bamsbl.

Mlr^GmaseaUbMamoiBeBW 1
•Mb *Al^BBiollichit^adm.' I

Glucx.

(r^tro.y

So niscellateons a selection, sucli a variety and mixture of names^
diversity in style so great, so much of Mozart, and so little of HandcJ^
were never before witnessed at tiiese concerts. Tbe ^uine anckmii^
tlmse who -claim from hereditary descent, stared with astonishment
when a first view of the programme discloMd to them its revolutionary
toMkncy; they es^changed significant glanoes, and only replied ta the
juaU milieu party, — to those who wtffiaA the fitness of « moderate
mfusion of the comparatively modem— by shrugs of the shoulders and
elevations of the eye- brows-— by looks in which pity for the taste of
those who could bring Leo and Beethoven under the same roof, aaA
forebodings of the consequences of innovation, were so equally propor^
tioned, that it was diffioilt to say which feeling was deepest in their
hearts, which struggled most in tlwir countenances. Yet the audience^
the fiilliBSt that me season has hitherto produced, were collectively
highly pleased with the bill of fare, and several who took single guinea
tickets for this one concert, determined to become regular snbscriberl
for the whole of next season.

The presence of the Queen called forth * God save the King,' in the
prayer of which, there can be no doubt, her majesty joins most heartilyy
though we are mclined to think that the loyal and illustrious lady would»
on most occasions, willingly dispense with the performance of tUs
*- national anthem,' the length of which, and the necessity for standing
up while it u going on, take much from tiie pleasure it woidd otherwise
afford.

The Te Dmim of Leo, a great work, though not equal to his DLrii
Dmmna; two splendid choruses of Beethoven, ' Glory to God ! ' and
* God is great in battle ;' and * MTlmi his loud voice,' the grand choroe
from Jepkthaj were all performed in a manner which no other chond
band in England ^san rival. ' Voi che sapeto ' was prettily sung ; 'tiio
quartet and solo from Idmnenw^ very well. Dr. Calleott's lovely glee
wms executed with great nicety and ^ect: Vaoghan and Bellamy
thoroughly understand the style, and the oilers co-operated wiliinglyii
*■ Gentle airs,' showed much taste and judgment, but there is a eaU/oh m
some of Mr. Horncastle's notes, a kind of ocerocca^tira, apparently
imitated from Mr. Vaughan, which he will do wisely in correcting befoia
it becomes a confirmed habit.

"Signora G. Grisi made her first appearance at diese concerts, in * Non
mi dir, beH* idol mio,' from Ben (Hovanm, which, so fitr as relates to
execution and expression, was never better sung; but, unused to m
room, she rather ibrced hei: voice, till it acquired a hardness that has
not been observed in the theatre. The recitative and air from Gluck*a^
Orfio were not quite equal. The former was admirably decliumdl*.
the expvession of the passion strong and true, and the artieulation
RBOSt perfect; but though the few additions made to the air were
eiEceedingly client, the singer did not evince the same feeling in
this that we have so often admired in Mad. Pasta. However, w»
must repeat, that Signora Grisi is not yet accustomed to room singing*
Abroad, concerts are performed in tlw theatre. Miss Shirreff 's twL
voice told in the recitative from Figaro; and the commencement of the
Mowing air promised well, but the latter part failed. She miscal-*
enlated, in fact, in choosing this bravura, which is not only beyond her^
powers and out of her style, but possesses less merit, and is less agreeable
to an audience, than most of the author's compositions. It forms no
psit of the originiil opera, and was not written con amore. The Ma>
drigal of Marensio is light and gay, but not to be reckoned among Us
best It had ne^r before been heard in this country, and was not
executed in the most perfect manner possible. Mr. Kny vett, howeser*
had better have left it to its fiite, than hove made the strokes of bos
baton so very audible. Mr. Seguin's fine voice wants a more animalsA
spirit to render it efiective; he should strive to relieve it from the
weight it seems to drag. The scene from the Creation is long, evett
when sung in the best manner : wanting energy in the performer, it is
indescribably heavy. Mrs. Bishop sang the fine song of Handel very
pleasingly : to be able to produce any efiect in this with Mrs. Salmon's
performance firesh in the recollection of the hearers, is a proof of no
mean ability. The delightful duet of Marcello stood much in need of
better rehearsuig ; the first movement also was too slow, it lingerdL
exceedingly: indeed, the whole of it was a failure. .The Overture to
Alcate^ an original work of great merit, the period at which it was
written being considered, received every justice at the hands of the
orchestra. ...

The choruses in this selection were, as usual at the Ancient Concerliy
peiformed in that fjerfect manner which, it wouU seem, can only be
arrived at hy repetition^ and the habit of singing together year after

THE MUSICAL LIBRARY.

year. We were partitfalarly stfuck by the accuracy and sjurit with
which * The many rend the skies,' and ' Wretched lovers/ both very
difficttlty were executed.

SIXTH CONCERT, WBDNSSDAT, ths 7th pf May.
Under the DirectiQii of the Doss of CvumaKUkMo. .

ACT t.

Openiag of Grand TeDeom. •.••.••. Oeavk*

Soag, * Lord to thee.' Misf Turner. {7%€odara.) • • • Handbl*

Hm Spartan Glee. ' I have been joung.'. . • . • Db^Cookb-

Can t ata. ' Forth from mj dark and dismal cell.* Mr. Biaham. • Pubckll.

Conoerta (A minor.) Martini.

Song. 'Witheyeiuprait'd.'. MiteCNovello. • • • . Dn. Cookb.

Clwraa. * The many rend.' (^Akxander't Fea&i,) • • • Hamdbl.
Duet ' The Lord is a Man of War.' Messrs. Phillips and Machin.

(braei m Bg^t,) Handbi^

Bong. 'Ilmioben.*' SiffnoraGrisi. (JVim.) • • • • Paisibllo.
Choroi. ' Join Toices, all ye living souls.'

(^MUiotCg Morning Hgmn,) . • Gallzaro and Db. Cookb

ACT n.

Selfdions from Acis and Galatea. Hahdbl.

Chorus. * O the pleasures of the plains.* — Recit. ' Lo I here my love.'
^Duet and Chorus. ' Happy we.' — Chorus. * Wretched lovers. —
Redt. ' I .rage.'— Song. ' O ruddier than the cherry.* — Redt.
« Whither, fairest.'— Trio. * The flocks shall leave.'— Recit. < Help,
Galatea.'— Redt < 'Tie done.'— Song. < Heart, the seat'^Chorus.
< Galatea, diy thy tears.'

Madrigal ' Now is the month of Maying.' • . . • • Morlbt
Song. * Honour and arms.' Mr. Machia. (SnRWM.) • . • Handbl.
Chorus. * May no rash intruder.' Handbl.

B^, *j£taldl"^"'' } Signora Grill. {H Don Ounumm.) . Moiabt.
Double Choms. < Gloria Patri.' Lbo.

Miss Turner* in ' Lord, to thee each night and day,' one of Handers
most beautiful and impressive airs, had an opportunity of exhibiting a
rich mezzo-soprano voice, but she is not yet quite mistress of the true
mode of singing this kind of music. Mr. Hobbs, on the contrary,
has already acquired the oratorio style, and probably it will fall to his
lot to transmit it He only wants more vocal power. Mr. Braham,
in the cantata, ' Mad Tom,' was admirable. Bv-the-way, it ought to
be noticed in the program, that only part of this is by Purcell. All
from ' In my triumphal chariot,' was added more than a century ago,
by George Hayden, the composer of ' As I saw fair Chlora.'

We now heard, for the first time in public. Dr. Cooke's beautiful song,
from Collins's Ode on the Passions: it is a musical gem, and Miss C.
Novello's judicious, charming manner of singing it left us nothing to
wish. Had Signora Grisi given the delicate, the touching air from
** iVtna," iotto voce, it would have been infinitely more effective. It was
^evident that she fully entered into the sentiment of the poetry ; but a
miscalculation ot the power of her voice in a room, betrayed her into
a loudness that took much from the tenderness which is the prominent
feature of the composition. In the scene from Don Giooanni she was
splendid* This magnificent aria,— seldom heard on the stage, the part
of Elvira generally filling mto the hands of a $eamda donna — being
one of the author's works not hackneyed, was universally admired, even
by the JncienUf many of whom still reluctantly admit Mozart into their
concerts.

The duet from Israel in Egypt has rarely been so well performed ;
both singers strove to do justice to the comjposer, and not, as is too
common, to rival each other in strength of voice. ' Honour and arms,'
one of the roaring songs, and which we never wish to hear, except as
part of a musical drama, enabled Mr. Machin to display plenty of phy-
sical power. Musical refinement he still wants ; but, however rich he
had been in this quality, he could not have availed himself of it in the
vresent instance. Mrs. Knyvett, in * Heart, the seat of soft delight,'
from Acii and Galaiea^ was chasteness itself, yet not cold. Mr. PbiU
lins, in * O ruddier than the cherry,* from the same serenata, showed
what may be done by studying the character of the words as well as
that of the music. We never knew this produce so much effect ; not
even when Bartleman, who had plenty of intellect, sang it.

It only remains to speak of the melodious and masterly chorus, * Join
voices.' The grand Gioria Patri of Leo, one of the noblest of his noble
works ; and the concerto of Martini, a composition of vast beauty, in
which the violin of F. Cramer uttered the natural tones of the instru-
ment, and was most eloquent.

THE PHILHARMONIC.
FIFTH CONCRRT, MONDAY, May 5th.

ACT I*

Sinibma in G Minor. ' •

Song. < Now Heavte in f;iUest glory.* Mr. Phillips. (Creaiiom.)
Intfodnction, Variations, and Rondo. Pianoforte. M. Hers. •

Aria* * Di piacer.' Si^oora G. Grisi. {La Oaxza Ladru,)
Ouverturo et Marche Triomphale • • • • •

MOSART.

Havdn.

HiAS.

Russuir,
Ribs,

• • ACT It » •

SinfoniainD. • *• • • • • ; , A.RoiniBBO.

Aria. .<D&queldi.' M. Ivanhoff. {Jnnm Boieita,) • Donizbtti*

Concerto Violin. Mr. Mori. Bbbthotbn

Duetto. <Forse un di.' Signora G. Grisi and M. Ivanoft

(La Gaxso Ladra,) .....•• Roesnrr.
Overture. (Hrr FrieKMUx.) C. M. ton Wbbbs.

' Leader, Mr. SPAaNOLBTn--Conductor, Mr. Cxpriahi Pottbk.

It may be advanced in palliation of such a concert as this program
holds forth to view, that Mozart's Symphony, the Overture to the Freis*
chaUf and Beethoven's Concerto, performed as all were here, sufficed for
one evening, and were well worth the eighth part of the subscription.
This might, perhaps, be maintained, were it not possible to have a much
better concert, and better worth the pcicei by means of more active,
more discriminating managers.

The Symphony in a minor, and Weber's Overture, exhibited the per-
fection of composition, and of orchestral performance. Andreas Rom-
berg's Symphony was executed in the same superior manner as was the
overture, &c., of Ries ; but, attributing to the former all that share of
merit which a work from so able a musician must possess, it wants dis-
tinctness of characterVand is deficient in interest ; and with respect to
the latter, if perfoirmed under a roof, Astley's would be its proper scene
of action. We involuntarily exclaimed, as towards the climax we en-
deavoured to deaden the sensibility of our tympanums, —

' Mills t hammers ! thunders 1 lay your noise aside,

Tour sounds are whispers to'—
« « •

SO dire a crash. . In justification of M. Ries, it must, however, be stated,
that he composed this (for a. grand f^ie at Aix-la-Cliapelle) to be per-
formed in the open air, where there was abundance of room for the din
to diffuse itself before it could reach in all its potency the ears of the
surrounding thousands. This fact never occurred to Messrs. the Direc-
tors of the Philharmonic Concerts, and even, when the piece was re-
hearsed, their united wisdom did not prompt them to put it aside, and
hand it over to the managers of the next meeting in Spa-Fields, to be
played during the assembling of the operatives.

As to M. Herz, be must have intended to hoax the directors. They
heard his variations at the rehearsal, and cannot plead ignorance of the
character of his music ; .nevertheless, they did not recommend a substi-
tute, or forbid its performance ; they therefore manifested either a want
of firmness, or a deficiency in judgment^ and in either case a bill of
indemnity is the only thing that can save them from impeachment.
Unless indeed they plead Beethoven's Concerto, played as it was by Mori,
as a set-off; they may tlrus escape under shelter of his broad shield.
Whether as a composition or as a performance, it has rarely been
equalled at these concerts, from their institution to the present moment.
His cadence also must not be forgotten, which embraced every kind
of difficulty that position, harmonics, double stops, arpeggios, &c., could
present, all executed with a force and an accuracy that drew forth peals
of applause from judges as able as sincere.

To sustain the vocal parts, two good new singers were engaged :
Signora Giulietta Grisi and Signor Ivanoff, both appeared here for the
first time. The former (of whom we spoke at large m our last Number,
in the eternal * Di Placer,') exhibited vocal talent of every kind in the
highest perfection, and was proportionately applauded. The latter con-
firmed the opinion we have already given of his powers : his very high
tenor voice is clear and sweet, and though he partakes in the vice of the
day, he is more moderate in the use of broderies than his ojpera
colleague, and so far is a better singer. But why were either of these
allowed to sing what is nightly performing at the King's Theatre, and
morning and night at every concert, public and private, in London ? —
Verily, the directors' acquaintance with vocal music must be very
limited, or their inactivity very great !

SIXTH CONCERT, MONDAY^ May 19th.

ACT I.

Sinfonia in o Minor C. Pottbb.

Duetto, Madame Caradori Allan and M. Vrugt, ' Bella Ninfa,'

(Jetaomda) SpOBB.

ConcerfOi Pianoforte . • • - • ... . • Moscrblbs.

Aria, Sigoor ZucheUi, * La vendetta' (L« Noxze di Figaro) • , Mosart. ,

Overture « (F/mti) Spohr.

ACT U,

Sinfonia in d • . . . Bbbtbotbk*

Scenn, Madame Caradori Ailan, (MS.) < Ah ritoma eti deU*

oro* F. Mbndbusohm Babtsoldt.

Concertante, Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, and
Double Bans, Messrs. Nicholson, O. Cooke, VVillmaii, Mack-
intosh, natt. Harper, and Dragouetti . . Tub Qhbvaubb Nkukomm*

Scena. M. Vngt, 'Languiid vidno a quelle^* . (AchiJ/e) ... ^abb.

Overture, itfjiacreoM ••••.••• Chbrubini*

Leader, Mr. LooBBT-Condudor, Ifr. T. Cookb.

Compared with the last, this selection is* entitled to great praise.
M. Potter's syinphony is one of those works wliich the more they are

THE MUSICAL LIBRARY.

beard the more they are admired ; every movement evinces invention,
' taste, and a complete knowledge of the capabilities of a grand ordiestra.
Cleamesa in design, pleasing melody, and a rich harmony, are the attri-
Irates of this symphony, which deserves to be ranked among the greatest
works of the kind. Its moderate length, too, is much in its favour,
and shows the judgment as well as modesty of the composer. The
audience were not insensible to the merits of this ; it was received with
the most unequivocal proofs of warm approbation. The symphony of
Beethoven abounds in heauties ; and the attempt to encore the larghetto,
in A, would certainly have succeeded, but for its great length. Spohr's
Overture has some new and charming passages, and perha^ more
unfokl themselves to those who are intimately acouainted with the work.

The Scena« by Mendelssohn, composed for this Society, proved as
unsuccessful as the other pieces written to order, and brought forward
this season. A long recitative, and an aria in two movements, in
neitlier of which could be traced the hand of that genius who has already
done so much, produced evidence of a failure, which neither the ability
of Madame Caradori, nor that of Mr. Loder, who accompanied her,
could prevent or conceal. However, something else from the author's
pen will soon efface our recollection of what was evidently composed
when his muse was reluctant to yield to his wishes.

M. Vrught, principal tenor to the King of Holland, wns introduced
in a long scena, partly good, partly made up of those barbarous divi*
aions whidi it is to be presumed our forefathers exceedingly enjoyed.
This new candidate for British patronage has a strong voice, of con-
siderable compass, and of a quality which we should deem good, were
it not somewhat guttural. His style is florid, which the applause won
by Rubini, whom as a singer he rather resembles, most likely has led
him to adopt His choice of music was certainly not fortunate, and he
did not make any deep impression on the audience. But in the excel-
lent duet from Spohr's Jessonda^ and under the protection of Madame
Caradori, who sang it very charmingly, he was more successful ; a
Dutch singer, however, and a respectable one, was a novelty, and so
far gratifymg.

Mrs. Anderson was to have played Beethoven's Concerto in i flat^
but illness forbade her appearance. Mr. Moscheles therefore obligingly
performed his admirable Concerto in c.

We had nearly overlooked the Concertante of Neukomm. Written
m some measure on the principle of works of this sort which were in
high favour half a century ago, it displays each instrument separately,
but it excels in every respect all those forgotten productions, save aud
Except one by Pleyel, a composition which we think of with pleasure,
and ere lonff shall, most probably, see revived, for its merits are of an
intrinsic kind, and will ultimately save it from that fate to which most of
bis works— certainly not all — are justly and urevocably condemned.

REVIEW.

*Date Sonitum,' an OFFERTOBinM,^r a Bass Voice and Chorus^ com*
posed for the Sardinian Chapel, by M. Costa, Director of the
Mutic at the King's Theatre. (J. A. NoveUo.)

It is probable that as the talent for dramatic composition declines in
Italy, that for music of the church will revive. It is agreed by all com-
petent and impartial judges, that, with the brilliant exception exhibited
m the person of Rossini, the music of the theatre has been degenerating
in what is called the land of song, ever since the days of Cimarosa and
Faisiello ; the multitudes who succeeded them, and were fashionable for
a time because new in name, are now utterly forgotten ; and the same
fate awaits Pacini, Donnizetti, Bellini, with a few others of the like
calibre. Mercadante, who not long since was numbered among those
who were content to pour water on the leaves of Rossini, and who served
up to the public a weak infusion of his commonplaces, has abandoned
the Opera, and now cleaves to the Mass, with a success, we are told, that
bids fair to preserve his name from that oblivion which his lyric music
could not possibly have averted. The others mentioned above will act
discreetly in following, if they can, his example.

Signor Costa has not, we believe, composed an entire opera : de-
tached pieces of his, possessing great claims to notice, we have seen, all
indicating superior taste and an independent spirit. Harmony appears
to. be his forte, and this naturally leads to sacred composition, a depart-
ment in which he promises to excel, if we may be allowed to judge by
the present specimen ; in which, however, there is no deficiency of air,
but it is a kind of air that seems by usage to be appropriated to the
base vok;e only.

The Offertorium, we may remind our Church-of-England readers, is
an anthem sung while the people in the Catholic Church are making
thenr offerings. This is a solo, set to a Latin hymn in rhymed verse,
interspersed with a chorus for four voices, repeating the words, given
out by the principal singer, but to a different melody, the whole written
not only in a most vigorous, pleasing manner, and calculated for efl\3ct,
without making any sacrifice to vulgar taste, but displaying as much
seience as is at all compatible with the general design, and not a note that
•avoura .of pedantry. For the melody of this we must refer the reader

to the work itself: as a specimen of the composer's harmony we insert
a very masterly modulation from c to D flat, and thence to b aatoral.—

Allefffo^

TM i r r

Though composed for church performance, this is not unfitted for
the chamber ; indeed Uie airiness and gaiety which pervade the whole,
adapt it, according to our protestant and perhaps too severe notions^
rather better for secular than ecclesiastical purposes.

Twelve Organ Movements, composed by W. B. Wilson, Organist
of SL Mary^ Greenwich, (Cocks and Co.) .

From the vivacity of catholic church music, we turn to the sober*
ness which characterizes the protestant. Not that our organ mask ia
always calculated to exalt the mind or inspire devotion ; it too often is
intended to show off, to what is thought an advantage, the finger of the
performer, or to display what is sometimes called learning, in the shape
of fugue, a species of composition excellent when good, but understood
by few, admitting of little variety, and of which not above one in twenty
of all the examples exUnt can be listened to with pleasure, or gives the
author a title to any praise, save that of patience and industry.

These twelve pieces are very short— one page each — and all preserve a
certain degree of gravity, though by no means of an austere kind.
They are gentle, and will tranquillize the minds of those who are sus-
ceptible of the influence of music ; while they also prove that the com-
poser's taste and knowledge are of a superior order, and, so far as they
S3, that he is what is not always to be found,— though more frequently
an formerly — a sensible organist, a safe coadjutor of the officiating
minister.

Walse Favorite du Due de Reichstadt, variie pour le Pianoforte^ par
Francois Huntsn, Op. 59. (Cocks and Co.)

A very animated waltz, possessing the rare quality of originality, with
four variations, all brilliant, the second and fourth rather deviating from
the course usually pursued on such occasions. Besides these, are a
good introduction and spirited finale, the whole forming, for those whose
bias is in favour of sparkling music, a very agreeable piece of thirteen
showy pages, soon run through, and, though demanding great agility of
finger, calling for less power of execution than the constant and rapid
motion of both hands seems to require.

The Ballet Music in Meyerbeer's Opera op Robert, arranged
for two performers on the Pianoforte^ by W. Watts. Books 1 and 2.
(ChappelL)

The present publication is, we suppose, meant as an appendix to the
opera of Robert le Diable similarly adapted by Mr. Watts, which it
thus completes in a desirable way. This great work of Meyerbeer will
in time be as properly estimated here as it is by our neighbours ;
but to adapt it to the English stase, it must suffer greater curtail-
ment than was made when produced at one of our theatres some two.
or three years ago. The ballet*music has to boast of more than the^
ordinary share of originality, and is arranged with every consideration^
for the performers, in Mr. Watts's able manner.

THE MUSICAL LIBRART.

BAI.I/A.D, ^ Oh ! ihe is like theinouhdropfinr^* tamfoudhy Mu. Philxp
MiiiLARiK (Chappell.)

Apretty» very easy ballad, set to Seottish words, therefore sot im-

goperly, but we do not intend to say necessarily, composed in the
lottisb style.

CIakzonet, Ttf tiweet to hear at Midnight^* ihe poetry by Lord Btron,
tft^ mdsic by JdUN IiOdob,' Esq: (Chappell.)

An elegant simplicity runs through this canzonet, which aims at
I»leasing, and successfiiily, by means that place it within reach of every
einger and accompanist

Ballad, * Sini[ me a' MeUdy,* the poetry byT. H, Bavlt, Esq.,^^
muiic by J. Auoustinb Wads, Esq. (Cramer, Addison, and Beale.)

We find here some of Mr. Bayly's best verses, Jbut not one of Mr.
Wade's happiest compositions. The whole is rather trivial, and the
two bars preceding the short cadenza abominably common. There is
also a bar too much for the rhythm in the opening symphony.

CAJiaojiBT, ' The Mermaid's Cave,' loritten by Miss H. F. Gould ;
composed by Charles E. Horn. (Chappell.)

A lively, pretty, easy air, with a simple accompaniment ; but the
melody has too much in it of the gone-by theatrical style to be very
graceful.

Canzonet, * Adieu !' composed by John Barnett. (ChappelL)

The words of this very expressive canzonet are set with great feeling,
and the accompaniment is rich and appropriate.

Sono, ' The Smuggler,' the pastry translated from Les Contrabandi^s,
a song by Beramosr ; the music composed by W. A Wordsworth.
(Leoni Lee.)
Mr. Wordsworth has here undertaken a task of no slight difficulty,
and accomplished it in some respects well. He has paid every attention
to the meaning and accent of the words, and entered into their spirit^
Still we have looked without much sueoess for some new trait, either in
«r or harmony, to enable us to think that we had taken up a work of
genius. The principal passage, one often repeated, and on which the
composer seems to rely, has for years past been employed by so many,
that it is become common property ; and the aooompaniment is not of a
very enterprising kmd. Nevertheless, the song has coat Mr. W. some
lahouTt and is not without merit The translation is one of those
admirable productions that occasionally appear in the Foreign Quarterly
Bevlew. ■

Theme Original, et Variations, precei^ dtun Adagio, pour le Violon^
^tvec accompagnement de Piano^ pair J. 6HTs,-Op. 10. (Cocks.)

This was performed by M. Ghys at Mr. Moscheles' Concert, in an
uncommonly skilful manner, the execution of it drawing forth the
warmest applause ; but the music was not so much admired as the
mode of playing it, a circumstance which an inspection of the com*
position at once explains, for though contrived to show great power
over the instrument, it contains very little that will give it much chance
of standing on its own merits. The introduction, or adagio, in b minor,
is the most commendable part. The theme in d, and the five varia-
tions, are not only uninteresting from want of novelty, but dry ; and
though the composition will certainly answer the purpose of those who
take it up for the improvement of the hand, it will not be likely to leave
any very favourable impression on the ear.

EXTRACTS PROM THE JOURNAL OF AN AMATEUR.

May Zrd, The Duke of Newcastle, in a speech delivered last night in
the House of Lords, seems to be literally frightened out of his wits
at the thoughts of the Festival in Westmbster Abbey. His Grace con-
aiders the performance of sacred music for charitable purposes a dese-
cxation of the church, and perhaps anticipates the fall of the roof on the
heads of the audience as well as band, mixing up stars and garters,
lawn sleeves and lawn dresses, fiddles, flutes, and drums, in one common
scene of destruction ; — forgetting all the while the daily and real dese-
cration of the sacred edifice, by placing tax-gatherers at its door, and
demanding money from the pi]rt>Iic, for permission to view the very
monuments which they have paid for ; thus converting the venerable
Mlding into an exhibition, ncyt for chari^, but for the purpose of
tiling the pockets of the dean and chapter. The Lord Chimcellor, iH'
Mplying to the noble Duke, and defenciing the intended p^formances,
as well as all those who patronise and mean to attend them, took occa*
sion to say that^* Musks is certainly one of those arts which, whether hi
connexion with religion or disconnected fiom it» forms a most laaoeent
source of amusement It tends to fattmanise and soften ^e disposition ;
and it has consequently been encouraged, in a greater or less degree,
by all civilized nations.' So &r this is true; but it is not saying

enough. Music is as neeessary to man as anything he enjoys, sava
food, raiment, and covering from the weather, xrom the earliest period
he never was without it, in some shape ; he cannot be deprived of it»
he never will relinquish it, therefore it is the duty of good govemmenta
to encourage it by promoting, in every reasonahlo manner, the iateresli
of its professors^ and oonsequratly, the advancement of the art

futh. Madame Tahna, who was a fellow«prisoner with Madame
Roland, relates, that the latter spent the two nights immediately pi^
ceding the day of her execution, in playing on the harpsichord, but that
the airs she produced and the manner of performing were so strange,
so striking, and so frightful, that the sounds could never after escape
from her memory. -— .

%th. The King of the French has issued an ordonnance, in virtue ef
which one copy oi all the new musical productions required by die laiT
to be deposited with the Minister of the Interior, will, in future, be sent
to the library of the Conservatoire de Musique^ When will this country
be able to boast a national library of music? When will our govern-
ment offer the slightest encouragement to those individuals who migfal
be willing to commence the formation of a collection of classical works
and of writers on the science ?

9th. In a work not long ago published, ' Travels in the United States
of America,' &c., by J. Finch, Esq., the author gives an account of a
visit he paid to Bethlehem, a town in the county of Northampton, inha*
bited by about 2000 Moravians. ' We were introduced,' he says, * to the
Bishop, Heiffell, spiritual director of the community, with whom we
went to view the church, a large edifice, built of wood. Tlie Bishc^
favoured us with a voluntary on the organ, and displayed the most per-
fect knowledge of the science of music We were delighted with the
sounds vibrating through the immense edifice, and thought it was the
finest music we had ever heard.

* The Moravians assemble in the church every day, and hear a dis-
course from the' Bishop. They are partial to music. Most of them
play on some instrument, and in this manner the mechanics entertain
themselves after their labour is over. Concerts are frequently performed/

llih. What very rarely occurs at a Philharmonic Concert, took place
at the last : — M. Herz's performance was received by many persons in
a manner that declared most uneauivocally their disapproval The
Times observes, that in selecting nim, the directors ought also to
have selected die music. The Spectator appears to have been in-
trusted with the secret of the matter, and says, that by mistake M.
Herz played a set. of quadrilles, instead of the piece which he had
prepared for the occasion*

lAth. Three or four years have elapsed since modem European
music, not only of the military kind, but Italian operas, obtained a
footing in Turkey. It now appears, fi*om the Account of Egypt and
Mah<mimed Ali^ by Mr. St John, that the art is likely to make
quick progress among even the Arabs. He says, — ^ The school of music
in the citadel [at Ghizeh] is under the direction of a German professor,
a very able and indefatigable man, whose labours have been muck
fadlitated by the natural genius of the Arabs for this science. It ia
indeed surprising to observe with what precision they execute in fidi
band the most difficult pieces of the most celebrated European pso«
fessors. Among all his Highnesses innovations^ the introductkm of
German and ItaUan music has been perh^ the most successful ; which,
however, is by no means matter of astonishment, since ia this kind of
imitation little intellect is required. A regular band is attached to everj
^ip of war, and every regiment in the army; and the instrumenta
appear to be of a superior description. The kettle-drums and fifes are
fabricated in the country, by Osman Effendi, a Turk of Constantin6ple*
An attempt was likewise made to produee all other kinds of musical
instruments, but not succeeding, they are now imported from Europe.'

20th. My information- concerning Mr. Bishop's terms fer eomposiAg
an opera for the English Opera House turns out to be incorrect: — he
asked only one hundred pounds for a three-act opera, the other ftso
hundred to depend on the success of the woric ; asid also two pounda
for every night after the first twenty that the piece should be performed;
the copyright, of course, to be the composer^s. This appears re ase a
able. The other statement, which I am happy to be able to rectify,

S' res quite a different aq»ect to the negotiation between Mr. Arnold and
r. Bishop. »

92ndk The following is going the round of the duly papefft. ^llieir
Majesties will go in grand state to each of the four performances in
Westminster Abbey, [that is, they will go exactly as George IIL and
his family did.] The directors will wear full court dresses ; but the
company will be only expected to wear the usual raoniiiig dresses; con-
sequently, feathers wtU not be worn, neither should ladies put on large
ha£s or bonnets with hlff h flowers or ribands, in order that they magr
not impede the view of those who sH behind them. What is ta
low head-dresses would be the bait node thai aoald be adopledr

THE MUSICAL LIBRARY-

£5

FOREIGN MUSICAL REPORT.

VIENNA.

SofipenUkeaUr. — Berold's opera. Die SchrnbenBMm oder der Ztoey-
tafnp/(h6 Ft4 aux Clercs), was given here for the finit time, on the
6th or March. Hue opera, which had proved very succeasfui at the
Jo9eph$iddier theater^ was even more favourably received on tlieae
1>oard8: Mdlle. LOwe and M. Cramolini particulnrly distinguished
themselves, the latter principally by his excellent acting.

Josfphitddter theater. — Mdlle. Shebest, from Pesth, has appeared here
aft Rcmeo in Beliinrs Capuleii und MontecehU and as Elvira in Don
Jtum^ in both which characters, but more especially the former, h«r
excellent singing and acting were rewarded with the aj^lause which
Ihey merited ; her voice is pure and sweet, and she has great powers of
execution and a good style.

Handel's ovatorio, Juda% Muccabmui^ newly instrumentalized by
Lindpaintner, has been given by the Musical Society, in a manner
liigfaly creditable to its members.

The Concerti SpiriludBy six in number, have been very attractive
Ais season : the compositions performed were selected chiefly from the
works of Handel, Mozart, Beetnoven, Weber, Spohr, &c.

A performance of Stadier's sublime oratorio, Die Befreyung von Jem^
9alem (the Deliverance of Jerusalem), was lately given here in aid of
die Musical Fund.

Mdlle. Nina Onitsch lately gave a concert here, distinguishing herself
aa a pianiste combining neatness of execution and delicacy of expres-
mon. A second concert was given on the 2nd of March, by the youthful
' B. Vieaxtemps, who again delighted his numerous audience with his
wonderful performances on the violin; on this occasion a Mdlle.
Hdnig, a young lady with a fine soprano voice, and possessing con-
siderable skill, elicited much applause. M. Vieuxtemps has since been
frequently heard in public* Concerts have also been given by the
Kontsky family; M. Khayl, a celebrated flute-player; Franz and
Caroline Botgorscheck ; by M. Durst, a violinist, and M. Konig, a
dever per fo r m er on the horn, late pupils of the Conservatoire ; and by
M. Seipelt, at which was produced Kapellmeister Lachner's Second
Grand Symphony in f minor, a composition rich in original and striking
melodic subjects, and very effective m point of instrumentation.

The public has also lately had opportunities of hearing the perform-
^ ances of Mdlle. Helene Legrand, an emment pianiste from Munich, and
H. Addner, a sweet and expressive clarionet-player.

Some Quartett Sdrc^es have been given here by M. Jansa, assisted
by MM. Holz, Strebinger and Linke, who played the select works of
Haydn, Mozart, Beethoven, Spohr, Onslow, Ries, kc. with great eflect.

The Abb<$ Maximilian Stadler, the Nestor of ^e German composers,
died on the 8th of November last, ui the 86th year of his age.

BERLIN.

KSntgdadUer theater, — ^A new opera was produced here in March, under
the title of Agnes Sord, which rather deserves the name of an old one,
as it was composed by the old Kapellmeister Gyrowetz, particularly
famous for his numerous ballet compositions.

Konigliches theater. — The performances at this thealre during the
month of March, presented no features of novelty ; the principal operas
given were Femand Cortex^ Robert der Teufd^ and ¥i^ato.

At the Ofemha«%y a new opera by Baron Von Lichfeenstein, called
Die DnetscAen Herrtn in NUmberg (the German Gentlemen in Nilm-
berg), was given for the first time on the 14th of March ; the music
betraying poverty of conception, and the Libretto, also the production
of the composer, being equally barren ; its reception was therefore not
very flattering.

The unwearied efforts of the members of the Singtdkademie aflord
a rich source of enjoyment to tiie public ; they have given in excellent
style — part of Sebastian Bach's Mass, in b flat minor, the solos behig
rang by Mad. Decker and M. Zschiesche,— an oratorio, by Rungen-
hagen, Chri$ti Einzug in Jerusalem (Christ's Entry into Jerusalem) —
and Handel's Alexanderfe$t^ the choruses being very full and efiective.
Some of the most distinguished members, too, in conjunction with those
of the Royal Chapel, performed an oratorio, Ruth, (perhaps more pro-
perly termed a Cantata, in the diimi^ style,) by C. Eckert, aged IS
yeala. The production of ao youthful a composer can hardly be
expected to stand the test of severe criticism : the work is, however, very
clever, breathing simplicity and childlike innocence throughout; the
harmonies are also good, and the composition generally warrants great
expectations respecting future productions of the young composer.
M. Eckert himself conducted the performance.

M. Mdser has commenced a second series of Musical Soin^ : on
the second eveninff, the overture to the opera Der Freibeuter (the J'ree-
booter), by M. Gimrich, was nlayed ; it is written in the modem style,
and is rather noisy, but full of happy ideas. Quintetts and symphonies
of Beethoven, Maurer, Kalliwoda, &c. have also been given. — M. Ries's
Quartetts likewise continue to prove attractive.

The brothers Eichhom have given concerts here with extraordinary
success. Other concerts have been given, by tiie brothers Ganz, at which

various new compositions were executed ; among them the overture to
the opera Agnes^ by M. Krebs, efiective and in the present style, and
the overture to Tauberfs new opera Die Zigeuner (the Gipsies),
characteristic, but somewhat unconnected ; — by M. and Mdlle. Stem^
brother and sister, violin and pianoforte players, both displaying con-
sklerable talent ; — by M. Schaller, a very clever harp-player from Ham-
burg; — by M. Belcke, a peiformer on the trombone;— by If.
Petzmeyer, from Vienna, playing very skilfully on the guitar ; — ^and by
Miss Laidlaw, whose performances on the pianoforte gave great satia-
faction.

A flutist of great abilities, ,M. Friebe, from Breslau, Whose tatenta
have been already universally aoknowledged in Dresden and Leipzig, is
now in BerKn : he is blind.

MUNICH.

Meyerbeer^s Robert der Teufel was represented here for the first time on
the 22nd February. The theatre was excessively crowded, and the suc-
cess of the opera surpassed the most ardent expectations that had been
entertained on the subject ; the sensation whicli it created has not bete
equalled by that of any other prodnction on the Munich boards for some
years past.

LEIPZIG.

The first representation of Herold's opera Der Ztoeykampf on the Leip-
zig boards, took place on the 26th of February, the parts of the Countes9
Isabella, of Mergy, Caniarelli, and the landlord Girot being sustained
by Mdlle. Gerhardt and MM. Eichberger, Lortzing, and Hauser»
respectively, who were all very excellent; the other characters were
creditably performed, and the orchestra was yery efficient : the reception
of the opera, however, was so equivocal, that it has not since been
repeated. On the 11th of March, Die Monteechi und Capuleii waa
given, Mad. Piehl being very successful as Romeo^ and Mdlle. Gorhaidt
as Julia^ and the opera was repeated on the arrival of Mad. Schroeder-
Devrient, who appeared as Romeo, and subsequently as Desdemona and
Fidtlio. The exquisite singing and acting of this universal favourite
produced their usual effiMst; her reception was enthosiaatic in tlia
extreme.

Among various pieces selected for execution by the members of the
Euterpe may be mentioned, besides the customary symphonies and
overtures of Beethoven, Mozart, Weber, &a, a potpoum-concertante
by M. F. Nohr, for the flute, oboe, clarionet, hosm and bassoon, one of
the most admirable compositions of this description, delightfully played
by MM. Stollberg, Faulmann, Rosenkranz, Pfauand Kretzschmar; and
Maurer's Concertante for four violins, well executed by MM. Winter^
Ullrich, Sipp, Hunger, &c. The vocal pieces were likewise judiciously
selected.

Der Erldser (the Redeemer), an oratorio by Carl Eduaid Hering,
music-director in Dresden, has been given here, the solos being song
by Mdlles. Grerhardt and Grabau, and MM. Eichberger, P6gner»
HauscT, and Bode. The instrumentation is very clever, and the com-
position altogether very meritorious, though not entirely free from ike
fault usually to be met with in the productions of young composem,.
who are too apt to consider frequent changes and crowdmg of
harmonies as evidences of richness of invention, l^e applause waa
very general.

Concerts have been given here, by the brothers Eichhom isnd then:
father, who were here in January ; — by Louis Schunke, a pianist pos-
sessing great facility of execution, together with a good style, and a
neat and delicate touch ; — by . Mdlle. Grabau ; — ^by Louis Lee, the
voung violoncellist from Hamburgh, who afforded great delight to hia
hearers by the exhibition of his wonderful skill. A. M. Steglich haa
also been heard in public, playing a Concertino of Kalliwoda for the
Chromatic Horn, with great effect, and likewise M. Franz Poland*
a skilful and accomplished violinist A concert was also got up for the
benefit of the poor, the principal features of which were Mendelssohn
Bartholdy's new overture to The Hebrides^ and Cherubini's Missa
Solemnis, which was executed by the members of the Singakademie and
the Tbomaner Chor.

The Russian Horn Band has been here enjoying a large share of
public patronage.

BREMEN.

The opera here is at present under the direction of M. Gerber, and the
principal singers are Mdlle. Lowe, M. Knaust, and M. Erieg. The only
recent production of any importance has been Robert der Teufel^ which*
notwithstanding its indiflerent reception, has been several times repeated.
The following artists gave concerts in Bremen durins the winter sear
aon : the four brothers Mdller, from Brunswick ; &e two brothera
Ganz, from Berlin, whose performanceis on the violin and violoncello
afforded great delight ; M. Schubert the violoncellist, and M. FCLrsteuaa
the flute-player, who, together with his son, nine years of age, elicited
wen-merited applause. M. Klein, also, from Berlin, played in public a
concerto of Hummel's, and an extemporaneous fantasia on the piano-
forte displaying considerable talent
The progress of the members of the Bremen Singakademie, under

THE MUSICAL LIBRARY.

ibe dmction of M. Riem, is Tery gratifying ; their occasional public
perfonnances ars very satisfactory.

TILSIT,

A Ycry talented young composer, of the name of Gustav Morgen, lately
visited this his native town, and gave a concert which was remarkable for
the excellent selection of the pieces, as well as for the delishtful manner
in which they were performed. The concert finished with a most bril-
liant pianoforte composition of his own, for sixteen performers on four
pianiHortes.

MILAN.

At the Teatro CareanOy Signora Tachinardi Persiani has been recdved
with unusual raptures of delight It would seem as if the Milanese,
when exdted to a degree of enthusiasm, were afraid that they might
possibly express their adoration of their idol too sparingly, for on one
occasion when this lady performed the SonnambuiOf she was called
forwMd no less than twenty«one times !

BERGAMO.

Mdlle. Vial, of the Hoftheater in Munich, has lately visited this place,
and has given a series of very successful performances. The character
in which she appeared to the greatest advantage was the difficult one of
Anna BcUna.

PARMA.

A new opera, the composition of Signor Savi, was produced here on
the 22nd January, under the title of The Cid. The merits of the opera
would have ensured it a favourable recepUon with a more indifferent cast
of characters ; the excellent singing, however, of the Prima Donna
Schoberlechner, in particular, contributed considerably towards en-
hancing the delight with which the production was listened to.

MODENA

The music of the opera Maria di Brabante, by the young Maestro
Alessandro Gandini, lately produced here, afforded so much pleasure
that the composer was loudly called for at the conclusion of every act ;
the principal characters, Maria and Philippo^ were admirably sustained
by Mdlle. Schoberlechner and M. Maccolinu

PARIS.

Don Juan has been given in the French language at the Acadc^mie
Boyale, in a manner worthy this sublime effort of Mozart's genius,
neither expense nor pains being spared to render it a most snlendid
perfortnance'; the singers were Mesds. D^moreau, Falcon, and Gras-
Dorus; and .MM. Nourrit, Levasseur, Deriyis, and Dabadie.

The brothers MOller are now in Paris, giving a series of Quartett
concerts which are invariably thronged to excess. The eldest more
esp^ially distinguishes himself as a solo-player, combining in his play
the energy and nre of Baillot, the delicacy of Lafont, and the sustained
cantabile as well as the facility of execution of De Beriot. It is their
intention^ when they have finished their career in IVtris, to visit London.

THE DRAMA.

King's TusATaE.

SiNCB our last, Signora G. Grisi has appeared in (Hello and in Don
Giovanni. Her Deidemona did not at all diminish the admiration
which her Ninetta and Anna Bolena had excited, but proved, beyond
dispute, the variety as well as the extent of her powers, and that so far
as these are acquired, they spring from a strong perception of what
is true, and . are not the result of imitation, as some continue to
assert. It certainly must happen, that persons of keen observation and
sound judgveift )vill portray the same passions, will represent the same
character, in a manner nearly similar. Nineita must be an artless
country girl, though possessed of finer feelings than are supposed to
belong to her station— and Anna Bolena will necessarily exhibit the
dignity of a queen, while faintly struggling against the influence of a
first love,— whether represented bv a Pasta or a Grisi. Otdlo was
never so well got up as a whole, though Garcia, as a shiger, was far
superior to Rubini ; but the logo of Tamburini, the Roderigo of Ivanoff,
and die Brabantio of Zuchelli, are equal and excellent.

In Donna Anna^ Signora Grisi is much more impassioned than most
who have filled the part, Mad. Camporese excepted. Her first reci-

tative, * Ma qual mai s'Offre,* in perceiving the dead body of her father,
was almost appalling ; and the following duet, * Fugp;i ! crudel,* quite
affecting. Admirable was her relation of Don Giovanni's violent
attempts; and her call on Ottavio to avenge ber injuries, in the
splendid air ^ Or sai, chi onore/ left no doubt in the minds of the hearers
of the power of music to express passion. The desire of vengeance
would have been inferred, without the aid of words. But h^r musical
powers were most exhibited in the grand air, the aria d^abiUtit^ * Non
mi dir, bel idol mio ;' here her physical strength, and the compass and
flexibility of her voice, had full play, and she astonished as much in
this, as she had delighted in the other parts of the opera.

Tamburini represents the noble Spanish roui remarkably welL Had
he a little more of the warmth, the empressement^ which so distinguished
Ambrogetti's performance of this character, he would be perfect in it,
for his singing, his vivacity, and his general deportment, are exactly
what could be wished.

Rubini went through his part as if he had no relish for it, which we
doubt not was the case. Mozart's music is not suited for such a singer ;
—a fact proved beyond dispute by his immolation of the air, ^ II mio
tesoro.* but the sacrifice of a single ]>ieoe was as nothing compared to
the injury the opera sustained by continual mistakes in the movement,
and the overwhelming loudness of the orchestra, for which we can only
account by supposing; the conductor to be wholly unacquainted with the
character of the music ; for we cannot believe that he would knowingly
have contributed so largely to its disfigurement.

Madame Caradori revived for her benefit La Sonnambula, which
was actually performed without a rehearsal ! The state of the theatre,
from two or three causes, one in particular, exceeds all that has been.
Grisi, however, is all-attractive : moreover, it is the spring season of six
weeks, and the house fills for the present.

GERMAN OPEai.

On Wednesday, the 14th of last month, the new German company
commenced their performances with Mozart's Zauberjlote. The
chief merit of this troupe consists in the equality of the individuals
composing it ; no one is very good, and none the reverse. Madame
Michaelsr, who represents the Queen of Nighty does not pass medi-
ocrity, and was obliged to alter tiie high notes in the grand aria, which
reach f in altissimo ; but this did not seriously iujure the effect of a
piece intended merely to display voice and execution. Herr Siebert
{Sarastni) took the beautiful air, — ^best known as ' Qui sdegno,' — so
slow as almost to change its character ; and the two lovely trios were
very indifferently performed. M. Schmeitzer, (Tamtno,) with a pow-
erful tenor voice, smgA in a manly, bold style, and condescends to give
us Mozart's text, without any of those additions, now so common, which
drive the composer from the ear, and leave nothing but the imperti-
nencies of the performer. Madame Walker (^Pamina) possesses any
thing rather than a sweet voice ; while Herr Gauther, (Papageno^')
with an agreeable organ, will hardly allow it to be heard. The whole
of this is under the direction of M. Prager, to whom much praise is due,
for a chorus well instructed both as regards singing and action. The
Queen (not of Nighty but of England) attended the first performance,
a kind patronage which would have had its effect, had the company
been at all attractive ; but as it is, the public show no inclination to
encourage M. Laporte*s unwise speculation, and from certain symptoms
which already begin to apnear, we should not be surprised if the German
opera were to close long before the intended period.

At Drury Lane and Covent Garden nothing new of the musical
kind has been presented ; but something in the shape of concert haa
been performed, which, as it promised no novelty, we did not attend.
Neither did we think it necessary to be present at the performances of a
certain Carl Rappo, who, in support of the legitimate drama^ exhibited
feats of strength, balanced straws, coquetted with cannon balls, dallied
with knives, and otherwise assisted in sustaining the classical character
of our national theatre.

NOTICE TO CORRESPONDENTS.

Wb sie nrach indebted to Mr. T. for hie valuable letter, and to Mr. B. of Edinbuxgh
tor transmitting it.
The * Benefi Conceits * will be given next Month.

Errata i» our Idut,

Page 15, column 2, line'4 of Song, fiir toe, read be,

19, 2| 48, for diUeUmH, read dUeiianlu

— 24, — — 1, ^— 22, for handsomeii, read kamdtome.

■ line 14 ftom bottom, for Signor^ read Signora, '

LONDON: CHARLES KNIGHT, 22, LUD6ATE STREET.

PanniD bx WILLIAM CLOWES, Dvkm Stbisti Lambbth.

MUSICAIi lilBRARY.

Monthly S^nppUmtnt

No. IV. JULY, 1834. Pnce Sixpence.

Thelfiuieof'PartIV/
Wettmiiiifter Fe8ti?al •
French Miuical Gaaette
Beethoven's WiU ^

37
40
40
42

CONTENTS.

The Ancient Coneerti •
The Philhannonic Concexti
Madrigal Society • •
Benefit Concerts .

Page

Review . • • • •
Letter • • • • •

Extracts from the Journal of an Amateur
Foreign Musical Report • , •

The Drama . • • * •

46
46
47

THE MUSIC OF PART IV.

Selections from Steibelt's First Fantaisie — (Page 57).
One of the cleverest and most pleasing works of Steibelt is his
FaniaUie, avec neuf Variations sur un air des Mysteres d'lsis,
(die Zavherflote), but its length, twenty full pao;es, deters many
from taking it up, and still more from playing it in society, few
people being willing listeners to a pianoforte piece, unaccom-
panied, of such duration. We have here given a part of the
opening and of the principal theme, ' O cara armonia P with four
of the best variations, transposing the order of the two last in
order to conclude in the major key. We shall notice the com-
poser in a future number.

Song— (Page 53).

The Hermitagt.

Hail ! abode of sacred uuiet,

Deep embosom'd in the glen.
Far estranged from madd'ning riot,

And the busy hum of men.

Those who seek fair Wisdom »

Meet her musing these wild scenes among;

Here her gifts appear far sweeter
Than where thousand votaries throng.

When the ills of fortune grieve us,

When her short-lived favours flee ;
When the hollow-hearted leave us,

Oh ! how sweet to fly to thee !

This song appeared, some few years ago, in the ' German Mu-
sical Gazette,' without any mention of the author of the verses,
or whence they were taken ; the composer's name, C. L. Dro-
BRiscH, alone is given, but we have not been able to obtain any
information whatever concerning him ; though we hope, and are
much disposed to believe, that the present is not a solitary pro-
duction of one possessed of so much taste and feeling. The
English words now adapted to this brief but elegant air are
imitated from the German.

Romance — (Page 54).

To a Ladjf Singing^

O ! cease, in pity cease, that strain.

Which melts my very heart to hear ;
That look— oh ! look not so again,
If mercy to thy heart is dear !
O, cease, if thou canst cease, to be
What most I love to hear and see !

Such were the tones, whose echo soft

My heart's still trembling chords retain
Such was the pensive smile, that oft
Thrill'd to my soul thro' every vein ;
And such was she, like me that mourns
The bhsted hope that ne*er returns !

Written by Robert Jamieson, A.M. and F.A.S., and added to

a collection of Popular Ballads and Songs, from Tradition,
Manuscripts, and scarce Editions^ &c., published by him, in 2
vols. 18mo. 180G, a work of great research and taste, in the pre-
face to which he speaks very feelingly of the neglect he had
experienced in his own country, and declares his intention to
accept an engagement oJBfered him in Russia; adding, that
•' the voice of the Scottish muse will never be heard on the banks
of the Dwina ; and should the editor return again to his country,
dejected, unpatronised, and unprovided for —

' In faith, sma' heart he'll hae to sing.' "

We have no further account of this learned, talented, discouraged
writer. The music adapted to these words is the Romance,
' Unter bliihenden Mandelbaumen,' in Weber's German opera,
Euryanthe, written for a tenor, the original key of which is B
flat, but now transposed to suit soprano voices also.

CARL MARIA VON WEBER,

Was born at Eulin, in Holstein, in 1786. His father bestowed
on him an education of the most liberal kind, and observing his
early inclination for the fine arts, encouraged him to study music,
in which he received his first instructions when ten years of age,
from Heuschkel, at Hildburghausen. He was afterwards placed
under Michael Haydn, at Salzburg, but owing to the austere
manners of that master, he profited little by his instructions.
In 1798, at Munich, he was taught sinmng by Valesi, and com-
position as well as the pianoforte by Kalcher ; and about four
years afterwards completed his professional studies under the
Abbe Yogler, who was no less pleased with his pupil than the
pupil with his master.

The first work that Weber publicly produced was an opera.
Das Waldmadchen (The Girl of the Wood), performed in 1800,
and well received at Vienna, Prague, and Petersburg. Indeed,
it spread in time farther than the composer wished, considering
it as a verv immature work. In 1801, his Feter Schmoll, brought
out at Salzburg, led Michael Haydn to say, that '^ it not only
promises great power and effect, but is composed according to
the strict rules of counterpoint." He afterwards accepted the
appointment of Maestro di Capella at Breslau, where he pro-
duced his Rubezahl, or Number Nip. The war, however, in
1806, obliged him to quit Silesia, and he entered into the service
of the Duke Eugene, of Wurtemberg. He there improved and

fubUshed his Maid of the Wood, under a new title — Silvana.
n 1810 he commenced a professional tour, and at Frankfort,
Munich, and Berlin his operas were performed with much suc-
cess. Assisted again by the Abbe Vogler, who then had two
very promising pupils with him — MeyeAeer and Gansbacher —
he composed the opera of Abu Hassan, at Darmstadt, in the
same year. From 1813 to I8I6 he directed the opera at
Prague, where he re-wrote his grand cantata Kampf und Sieg
(Battle and Victory). He then was invited to rorm a Ger-
man opera at Dresden, for which his general knowledge
and extensive acquaintance with polite literature, added to
his professional ability, well qualifiea him. This appointment
be held till his death; though be had permission irom his
sovereign to superintend the production of bis Freischutx ia

THE MUSICAL LIBRARY,

1822 at Berlin, his EuryafUhe at Vienna in 1825, and in 1826
his Oberon in London. His visit to this country most likely
accelerated the progress of a pulmonic disease under which he
was suffering. Mr. Kemble, during a tour on the Continent in
1825, engaged M. Weber to write an opera for Covent-Garden
Theatre, and to direct personally the getting up of the work.
This brought him to London in February 1826, and the length
of the journey at such a season, the unfortunate continuance of
easterly winds, together with the fatigue and anxiety of producing
a work of such magnitude, acted visibly and rapidly on his weak-
ened frame. He was found lifeless in his bed early in the
morning of the 5th of June, 1826, ten dayd after he had presided
at his own concert in the Argyll Rooms. His remains were de-

S sited with great ceremony in the Catholic chapel, Moorfields.
is works are numerous in almost every department of music,
though he composed but little for the church. He was a most
excellent and accomplished man ; his conversation was remark-
able for an unaffected display of knowledge unconnected with
his art; his judgment wa¥ strong, his temper gentle, and hi^
manners polished.*

Glee — (Page 56).

The Maff'Flf,

Poor insect ! what a little day

Of sunny bliss is thine I
And yet thoa spread'st thy light wings gay.

And bid'st them spreading shine.

Thou humm'st thy short and busy tune,

Unmindful of the blast,
And careless while 'tis burning noon

How short that noon has past I

A shower would lay thy beauty low,

The dew of twilight be
The torrent of thy overthrow,

Thy storm of destiny.

Then, insect, spread thy shining wing.

Hum on thy busy lav.
For man, like thee, has but his spring,

like thine it fades away.

These verses, which may not defy criticism, were written by
Mary Robinson, once celebrated for beauty that inflamed the
youthful bosom of the heir-apparent to the British throne, after-
wards George IV., who saw her in the character of Perdita, was
conquered, and submitted to her sway during two whole years.
She was bom in 1758, and a hasty marriage at fifteen soon in-
volved her husband, an attorney, in difficulties, to overcome
which she went on the stage, whence she was speedily withdrawn
by her royal admirer. Mrs. Robinson published two volumes
<)f poems, one of which supplied the above lines. She was
also author of many other works, now only known by the un-

giUant, indeed, in some instances, unjust, severity with which
ifford treated them in his Baviad and Maeviaa. She died
in 1800-

Rondo — (Page 61).

Sly F. Kulau, concerning whom we have no information, except
that he was a German by birth, and established in Copenhagen,
where he died two or three years ago, just as he was beginning
to be known as a man gf t«^leat»

ligious march — of the priests of Isis — requires no remark. Wo
have selected the variations from a German publication which
has long been in our collection, and have made some few altera*
tions in th^, besides having restdred the theme to its original
stable, fironi which it had been, injodicioody we think, perverted-.
Gerber, in his Lexicon, mentions Philipp Carl Hoffmann as the
author of many works, the above among the number, which he
states appeared in 1794.

March — (Page 64).
From Mozart's German Opera, Die Zauberflote (The Magic
Flute), with four variations by P. C. Hoffmann. This fine re-

* Among many proofs of the superior understanding of Weber was that of his
mlways suiting the sonnd to the sense. « In one of the pieces in Oberon^ Miss Paton
(now Mrs. Wood), with all her taste and execution failed to produce the effect
intended by the composer. * I know not how it is,' said she, ' but I can never do
this as it should be.' * The reason is,' replied Weber, * because you have not
studied the words.*

<* A grander instance of his feeling and judgment was giren when a hymn to the
Deity was rehearsing. Some of .the voices were mufch too noisy. ' Hush I hush I*
exclaimed the genuine master. < Hush I — If you were in the presence of Q6d, would
you speak so loud ?* . , . "^

** His anxiety to do justice to any subject on which he was engaged will be made
evident by the fact, that before he would undertake the composition of some verses
iiom Moore's Lai/a Bookh^ he insisted on reading the whole poem, which he h*il
never seen before. The perusal of it impressed him with the highest admiration of
his talents, and he iflUmated a strong desire to be introduced to him.'— Harmoft^
««if, it, 147.

' Duet, Piano-Forte— (Page 68).

Die Vorstellung de$ Chaos, (The Representation of Chaos,) or
Introduction to Haydn's Creation, which, to the best of our
knowledge, has never before appeared arranged for four hands^
though the only mode in which a tolerably correct notion cai>
be conveyed, by a single iastrument, of the effect of this wonderful
composition—^ this extraordinary .piece of rich musical de^
scription. As there are, probably, five hundred piano-fortes to
one organ, this, of course, must -generally be played on the more-
common instrument; but its- effect will be far greater on ani
organ, because this can sustain the long, holding notes ; provided,
however, that it is capable, by means of a pedal, of expressing
the loud and soft,— of producing that light and shade so in-
dispensably necessary in doing justice to the composer.

A Sketch a la Haydn — (Page 72).

Written in 1823 by J. B. Cramer, for the Harmonicon, from
which work we have, by permission of the proprietor, extracted
this brief but admirable specimen of the composer, who inscribed
it to his friend Signer Dragonetti, a most able judge, to whona
the author would have offered only what was worthy of both,,
and likely to transmit their names together to distant times.

JOHN BAPTIST CRAMER,

eldest son of William Cramer, one of the most celebrated
violinists of the last century, though born at Mannheim, waa
brought to this country in his infancy, and has made it his^
home : England therefore possesses what jurists would call an
equitable, if not a legal, right to claim him as one of her sons ;
and this, we presume, he is not inclined to dispute^ having been
at the expense of being naturalised by the usual legislative
means. His first instructions on the piano-forte he received at
seven years of age from Bensor, a German professor ; and three
years after he was placed under the tuition of Schroeter. But in
his twelfth year he became the pupil of Clementi, and it was-
from this period that he learnt the full power of the instrument
to which he has since owed his greatness. From the age of^
fourteen to sixteen he studied counterpoint, which in fact embraces
every kind of composition in parts, under the very eminent
theorist, Abel. About this time appeared his first work ; and
before he was seventeen he had frequently exhibited his talents
at several public concerts in London. He now visited the con-
tinent, publicly performing in many capitals, and was in Paris
during the tempestuous season of the revolution. In 1791 he
returned to England, and was immediately and fully engaged m
the exercise of his profession. In subsequent years he repeated
his continental tours, for the purpose of making himself ac-
quainted with the state of the art abroad, and with its distinguished
professors. Mr. Cramer was one of the institutors of the Phil-
harmonic Society, of which he has frequently been a director.
His works are numerous, and need no eulogy; they will be
valued by future ages, to which even the names of some fashion-
able composers of the present day will be utterly unknown ; and
as a performer, for pure taste and strong feeUng, we know not
his equal.

Chaconne — (tage 74).

The most popular of the works of Jomelli. The Chaconne, or
Ciacona, was a grave, grand dance, much in use in the seven-
teenth and eighteenth centuries, though now only known as a
musical movement ; it is always in three-crotchet time, and gene-
rally on a ground-base. Dr. Arnold, between forty and fifty
years ago, adapted this as a very impressive chorus, in a pasticcio
oratorio ; and it was afterwards introduced with striking effect in
Lewis's Castle Spectfe. It is noW regularly performed at the
Ancient Concerts, and is far too exeellent evw to be forgotten.

THE MUSICAL UBBARY-

KIOOIO JOMBLU,

CL NeapoKtan^ was bom in 1714^ and educated in a consetTatorio
4t Napks under the renowned Leo, who foretold that his pu|nl
would become the admiration of all Eurc^, a prediction ferified
Itbout the middle of the last century. His first opera, VErrore
AmoroiOy was produced when he was only twenty-three years of
age, and he continued to write for the lync theatre, almost inva-
riably widi decided success, till 1772, when the failure of a work
Imniffht on an attack of apoplexy. After this, however, he pro-
duced his fine Muerere. He died in 1774, and his obsequies
were solemnized with almost unexampled magnificence. Of his
yery numerous works not many are performs in this country;
in truth, few of his operas will bear a comparison with the pro-
ductions of more modem writers ; but his Rtquiem, and another
mass, published here, are still known and admired by every
ivell-informed musician; and a scena from his serious opera,
Lucio Vera, one of the finest dramatic compositions extant,
still continues to be heard, with that 'admiration* which his
master foretold, at the Ancient Concert, an institution to which
we are indebted for the preservation of the chefs-tTceuvre of the
0reat ancient masters, a knowledge whereof forms the only true
pasis of a good musical education. Metastasio's oratorio. La
Pussione, was also set by Jomelli, who was one of the poet's
most attached friends, and is a very masterly work, containing
much that, if properly managed, might be very successfully
revived.

Arietta — (Page 61).

Ah ! non la8ciarmi» n6,

Beir idol mio !
Di chi mi fiderd

Se tu m* inganni ?
Di vita mancberei

Nel dirti addio :
Che vivere non potrei

J*ra tanti affannL

Versified to suii the music.
Ah ! leave me not, ab, no,
' Dear idol of my love !
In wbom sball I repose

If thou inconstant prove ?
Tbe bitter thought were death

To bid my love adieu ;
No, no, I could not live

Were I deprived of you.

We know not the author of the words, and it matters litde who
wrote them ; but the air is one of the happiest effusions of the
composer, —

BONIFAZIO ASIOLI,

bom at Correggio in 1769, and during many years director of
the conservatorio at Milan. He was much esteemed by Buona-
parte, who, as King of Italy, appointed him his Mailre de Mu»
tique de Chapelle, &c. He composed several canzonets, notturni,
fantasies, &c., all displaying a refined taste^ but not much energy.
He also published two very sensible, useful treatises, and was
one of the most able, intelligent teachers of his day. He died,
if^we mistake not, about the year 1830.

Canzonet — (Page 62.)

My wife's a winsome wee thing,
A bonny blythesome wee thing,
My dear, my constant wee thing.

And evermair shall be :
It warms my heart to view her ;
I canna choose but lo'e her ;
And oh ! weel may I trow her.

How dearly she lo'es me !

For tho' her face sae fair be.
As nane could never mair be ;
And though her wit sae rare be.

As seldom do we see ;
Her beauty ne*er had gain'd me.
Her wit had ne'er enchained me,
Nor baith sae lang retained me.

But for her love to me.

When wealth and pride disowned mo,
AU views were dark around me.
And sad and low she found me.

As friendless worth could be;
When other hope gaed frae me.
Her pity kind did stay me,
And love for love she ga'e me ;^-»

And that's the love for me !

And, till this heart is cauld, I
That charm o' life will hauld by ;
And tho' my wife grow auld, my

Leal love ay young will be ;
For she's mv winsome wee thing.
My canty, blythesome wee thing,
My tender constant wee thing.

And evermair sail be.

The words by Jamieson, from the work above-mentioned^
adapted to a German song, * Ich liebe dich,' by Beethoven.

Canzonet — (Page 64.)

My mother bids me bind my hair

With bands of rosy hue ;
Tie up my sleeves with ribbons rare,

And lace my boddice blue.
^^ For why," she cries, *^ sit still and weep,

While others dance and play ?"
Alas ! I scarce can go or creep

When Lubin is away,

'Tis sad to think the days are gone

When those we love were near !
I sit upon this mossy stone.

And sigh when none can hear.
And while I spin my flaxen thread.

And sing my simple lay,
The village seems asleep, or dead,

Now Lubin is away.

The poetry by Mrs. John Hunter. The music b the
of Haydn's first set of canzonets. — ( Vide page 15.)

third

Glee — (Page 66).

Here, in cool grot and mossy cell.

We rural fays and fairies dwell ;

Though rarely seen by mortal eye,

When the pale moon, ascending high.

Darts through yon limes her quivering beams.

We frisk it near these crystal streams.

Her beams, reflected from the wave.
Afford the light our revels crave :
The turf with daisies broider'd o*er
Exceeds, we wot, the Parian floor.
Nor yet for arlful strains we call,
But listen to the water's fall.

These are the two first stanzas of verses written ' On a Tablet
against a Root-house/ at the Leasowes, in Worcestershire, by
Shenstone, the elegant pastoral and elegiac poet, most of whose
works, after standing the great and true test of merit, time, are
now universally admired, notwithstanding the slighting manner
in which they are treated by Dr. Johnson, and the severe censures
of Gray. He was born in the parish of Hales-Owen, Shropshire^
in 1714, and died in 1763. The music is by

GARRET, FIRST EARL OF MORNINOTON,

who was bom in Ireland about the year 1720, succeeded hit
father, Richard Colley Wellesley, in the barony of Momin^ob
in 1758, and was advanced to the dignities of Viscount WeU
lesley and Earl of Mornington in 1760. This nobleman, the
Hon. Daines Barrington in his JfisccHanie* ♦ informs us, fur-
nishes an early instance of attention to musical instrumenta*
" His father played well, for a gentleman, on the violin, which
always delighted the child while in his nurse's arms, and long
before he could speak. Nor did this proceed from a love, com-
mon to all children, of a sprightly noise, as may appear by the
following proof. Ehibourg, who was thirty years ago [t. e. in
1751] a distinguished performer on that instrument, happened
to be at the family seat; but the child would not permit him to

* PuUiahediaim.

E 2

THE MUSICAL LIBRARY.

take the violin from his father till his little hands were held.
After having heard Dubourg, however, the case was altered, and
there was much more difficulty to persuade him to let l!)ubourg
give the instrument back to his father. Nor would the infant
ever afterwards permit the father to play whilst Dubourg was in
the house T* At about nine years of age he learnt to play two
catches on the violin, and soon after was able to take the second
violin in Corelli's sonatas. His first composition was a minuet ;
his next a duet for two French horns. At fourteen he commenced
playing on the harpsichord, and at nearly the same time, his
father having declared his intention to have an orran for his
chapel, the young amateur set about qualifying himself as
organist, anft in less than a year and a half sat down and played
an extempore fugue, to the astonishment of all who heard him.
* In process of time,' says Mr. Barrington, * his Lordship was so
distinguished for his musical abilities, that the University of
Dublin conferred on him the degree of doctor in music' At the
same time he was also made professor of that faculty to tlie
University. His Lordship died in 1781, and was succeeded by
Richard, the present Marquis Wellesley.

Lord Mornington, says the Harmonicon,* ' devoted all his
leisure hours to music, and such was the success attending his
favourite pursuit, that small indeed is the number of professors
who, by their works, have arrived at the same rank in the art as
that so fairly gained^ and so incontestably possessed, by the
noble EarL

' But,* continues the same writer, ' honourable to Lord
Mornington, considered as a man of genius, as were the praises
bestowed on what we venture to call the offspring of his muse —
praises wherein the succeeding age joined and the present has
repeated — the glory that encircles his name derives its highest
lustre from the acts of his own immediate progeny. One of the
most accomplished statesmen of the period in which we live, and
the greatest general that this or any age ever produced, owe to
him their existence.*

Lord Mornington's compositions are chiefly vocal: some he
wrote for the church, but he most excelled in the glee style.
The above glee, a masterpiece of its kind, gained the prize medal

S'ven by the Catch-Club in 1779. ' Gently hear me, charming
'aid,' for four voices, published in Warren's 25th collection,
abounds in taste and feeling. ' Come, fairest Nymph^' for the
same voices, also in Warren's collection, has ever been warmly
and justly admired. And ' O ! Bird of Eve,' for five voices, is
a piece of vocal harmony of transcendant beauty, which will at
no distant period appear in our work.

ROYAL MUSICAL FESTIVAL IN WESTMINSTER

ABBEY.

The present sheets will be at press before the commencement
of these performances ; and as it is our intention to devote much
of the next Number to this subject, we shall here only notice in
a cursory manner what we observed and what occurred to our
mind at the first rehearsal, which took place in the Abbey on
Friday the 18th of June, when company were admitted at half-a-
guinea each, no seats having been reserved; and, as far as relates
to the music, the performers, &c., the course of proceeding was
the same, it is to be presumed, as will be followed on the first
day of the Festival.

The entrances are all admirably contrived, so that no confusion
or even crowding can occur, except through the mistakes or impa-
tience of the visiters. The nave of the Abbey is fitted in a
most convenient manner for the larger portion of the audience.
The orchestra is at the West end ; the King's box, and boxes for
the royal attendants, as well as for the directors, bishops, and the
dean and prebendaries of the church, are at the opposite end.
On each side is a deep gallery, under which, on the sides of the
nave, are six rows of seats. The middle of the nave is filled
with cross seats. Rising from the back of the royal boxes are
additional galleries, subsequently erected, when it was deemed
necessary to increase the number of tickets.

The galleries project too much beyond the pillars, and are
raised rather too high from the floor, while the King's and other
boxes are considerably too low. The plan adopted in 1784, and
following years, was preferable on all accounts. Then the gal-

* Vol viii., pftge 1»

leries were bounded by the columns, and the fronts of those, as
well as of the orchestra and boxes for the directors and their
friends, were in a line, the boxes for the Royal Family and digni-
fied clergy rose above, and the seats for the attendants were still
higher, but behind. This arrangement was not only more picto*
ri5, but attended with greater advantages. Most, however, to be
lamented is the heavy cloth drapery by which all the fronts are
loaded;— -and not these only, but the seats throughout, from the
tops of the backs down to the very floor, thus forming a vast body
of the best non-conductor of sound possible, and thus diminishing
the effect of the band, as regards strength, one-third at les^st.
Almost all acknowledged that the power of the orchestra fell far
short of expectation, and many, no doubt, expected more than
could be realized ; but all were right who thought the result dis-
proportioned to the means, though few were aware of the main
cause.

The introduction to The Creation, also the choruses, went off
admirably ; and most of the airs, &c., were well sung. But we
shall reserve our particular remarks for the performance. Frpm
comparative weakness of instrumentation the selection from the
oratorio of Samson seemed tame, after the grand orchestral effects
that preceded it. Perhaps it Tvould have been as well not to bring
into juxtaposition HandeVs and Haydn's musical imitation of
first-created light, unless that of the former had been improved —
as we unhesitatingly think it ought to be — by the addition of in-
struments, either imknown in Handers time, or which he could
not venture to trust. At all events, the least striking ought to
have been first heard. An anticlimax is always to be avoided,
unless comic effect is intended ; and notwithstanding our great
veneration for Handel, whom, take him for all in all, we consider
the greatest composer that ever lived, we cannot but think that
Haydn, in the present instance, has, in imitating, surpassed him.
The choruses from Samson were not less ably performed than
those in The Creation; indeed, the accuracy and firmness of all,
both instrumental and vocal, cannot be too highly praised.

FRENCH MUSICAL GAZETTE.
Gazette Musicals de Paris. 1834. Proprietor, Maurice

SCHLESINGER.

We deem it a duty to make our honoured readers better ac-
quainted with this new French musical journal. We shall best
accomplish this by giving an account of the contents of the first
Numbers, with a short description of the manner in which it is
conducted. In the customary address to the Public, the avowal*
in which at the same time the object of the publication is stated^
is remarkable enough. The taste, it observes, has become so
deteriorated in France within the last ten years, that it is now
quite ludicrous. Now this corrupted French taste the pub-
lishers intend to wage war against with impartial criticisms and
comparisons with earlier centuries ; and to this end the flower
of the Parisian artists is leagued with them. If the reader
however fancies that this laudable design is forthwith manifested
in bitter and severe remedies, he is very much mistaken. The
first thing they dish up is from the fashionable confectionary of
M. Jules Janin, who furnishes a fantastic narrative, in two parts,
called " Beethoven's Dinner." They appear to attach great
importance to this narrative ; the Freymuthiger inmiediately
translated it into German, for which we thank its Editor, as our
paper is thus not wanted for it. Whoever has a mind may
read it there. We must, however, remark, that this narrative is
nothing but a decoy-bird, which must tend to debase the taste
still more, not to mend it. What is there made of our poor
Beethoven, and the speeches that are put into his mouth, not a
soul can imagine who has not read it. M. Jules Janin unques-
tionably ranks high among the modem French writers. It is
well known what are the springs of action of these gentlemen. It
is also known that the fantastic style will as little be denied to
Mr. J., as adroitness in dashing away right and left, and ridin^^
most dexterously in all saddles ; but powers of judgment and
reverence for truth as little belong to him, as to many other
gentlemen whose transient writings are made up of the lumiriant
and the unnatural. If the editors have not committed a blunder
in the matter of this fantastic narrative, which stands at the head
of their publication; if such kinds of articles, which are quite at
variance with the promised impartiality, are necessary to attract

THE MUSICAL LIBRARY. ^

their readers, then, indeed, must, the French taste be infinitely
worse than we conceived ourselves warranted in supposing ; or
else they are only degrading it still more^ instead of elevating it.
For the very reason that it is the fashion to begin periodicals,
now-a-days, with some light amusing article from the pen of this
witty author, that fashion should not have been conformed to in
the case of a publication, which purports to oppose the fashion of
tile ruling taste, and the money should have been better em-
ployed. This expensive choice seems to us of all things least
calculated to recommend the work. Of men such as Beethoven,
who are still living in our memories, and every thing connected
with whom is dear to so many, people do not relate romancing
narratives without acting very inconsiderately. It is a dish of
calf. (Es ist ein kalbemes. This is an expression attributed to
Beethoven, in calling for veal at the tavern.) In a slight review
of * Fantasie et Variations pour le Piano, avec Accompagnement
d'Orchestre, sur la Marche d'Otello de Rossini ; par H. Herz.
Op. 67,' it says : — " Had Mr. Herz written but one diverti-
mento, one concerto, and a few studies, we could (not?) have
denied faim the title of a composer, in the more noble signification
of the word ; for the rest of his works come more or less under
the head of variations, precluding all kind of artist-like creative-
ness, if not rendering the exercise of it a matter of impossibility.
Ihey belong only to the art, when they are the expression of an
important idea, which can be repeated in all manner of forms,
with soul and deep feeling. But when all fine ideas are stifled
and smothered by nothing but divisions and fearful difficulties,
they become worthless," &c. M. Herz, upon whom we have
long ago formed and confirmed our opinion in Germany, comes
oflT with anything but flying colours in this work ; most of his
compositions are severely found fault with. He is under-rated,
at the same time that praise is unduly lavished upon others.

Next follows *' Musical Execution — Liszt, Ferd. Hiller, Chopin,
and Bertini." This is a profound, many will say a bombastic,
article, quite in. the new style of French writing and ideal-
romantic elevation, signed ' A. Guemer.' According to this essay,
all former, indeed all other music whatever has no merit- compared
with the performances of these four gentlemen. In our own
times only has musical composition struck into so brilliant a
course : the art of melody has soared with rapid flight to so high
a pitch, that musical execution has been constrained to hasten
to pursue resolutely the track of musical genius in the path of
geniaUty.*' What can be the meaning of this? Are these gentle-
men then not appreciated in Paris ? M. Liszt certainly, at least,
makes an incredible sensation there ! Then must geniality also
have diffused itself at the same time among the people ! How
then can the editors say the taste in Paris is so totally corrupted
within the last ten years? This is an obvious contradiction.
Or might the accounts, perhaps, noticing the pleasure experienced
by so many in Paris from M. Liszt's vast skill, be altogether at
variance with the truth? Let us, however, suffer the matter to
rest on its own merits, and give an extract or two from the essay.
We will only state, before proceeding farther, that we likewise
appreciate the talents of these four musicians, as we have already
heretofore stated with reference to Bertini and Chopin. Three
of them have undoubtedly struck into a new path, which . we
know how to value. But it will not increase their fame if others
are disparagingly treated. Composers of an earlier date may
stiQ, if they will, claim the merit of having furnished for the less
accomphshed amateur an elegant and convenient fingering;
others may deafen the ear with their sheaves of notes, their
streams of scales, — their sterile fame will soon pass by ; the praise
of the more modem will obscure it. We would only ask, if
playing and composition separately or promiscuously are to be
treated of in this essay, — are then Cramer, Hummel, Kalkbrenner,
Moscheles, mere children, who are not even worthy to be mentioned
by the side of the others? And the principle of giving practically
each musical idea with the whole soul, perfect geniaUty, and
poetic conception, is by no means new ; it is old, and not a few
pf the earlier players have, put it in practice, to the exceeding
delight of their hearers. We do not in the least detract fix>m the
fame of these gentlemen, when we assert, that in this respect the
palm of merit is not exclusively to be awarded to them. The me-
thods of the^ four highly-praised players, each having struck
out one peculiar to himself, appear to the author of the essay.
Hot only superior^ but indeed so grand, that others are regarded
as worfldess. And this is going too far. In spite of these objec-
tions, we concede with pleasure tb^t the paper contains 'many

points of interest, which, however obscurely expressed, will afford
matter for thought. The author is a man of sense, though he
does suffer himself to go too ifar. We imagine that extracts^
giving accounts of these four gentlemen, will not be unwelcome to
our readers.

Bertini is no improvisatore on the piano-forte, who compresses
the bold thoughts of his mind within narrow limits ; he is a
powerful and energetic artist, who develops an idea, and by de-
grees brings it o\it like a seriously and long considered work. It
is not the surface, but the inmost recesses of our hearts which he
affects; and while gracefulness is a characteristic feature, strength
and energy are no less predominant The ode is more pecu-
harly his forte than the elegy. His ' Esperances et Regrets ' is
adduced in corroboration of this opinion. Of this the author
says, " It was an entire lyric drama. I find many more unques-
tionable beauties in the second part than in the first. The first
bears the character of our modem society, while the * Regrets*
are, hke the human race in ancient times, marked by solid
grandeur. If we have here the despair of a woman, it is at least
not such as would exist in the hearts of our firagile young dam-
sels, but rather the anguish of a maiden of ancient Greece, and of
Sparta rather than Athens, of Homer's rather than Pericles*
times."

Hiller is the nursling of German harmony, jealous of his own
individual originality, deep, reflecting, but with a conception
brightened by a southern ray. His playing and composition
may frequently be likened to a northern dream related by a dra-
matic poet, with all the purity of Attic elegance. He acquires
celebrity by his chiaro-scuro, like Rubens; he is thrifty to a fault;
his lights are unbroken, and he introduces no false lights or forced
contrasts. In the fanciful and mystic he cannot compete with
Mendelssohn Bartholdy, but he may in matter-of-fact reality.
He will be the little Beethoven, as the poet Heine has already
designated him.

Chopin's expressive play, his harmony, ardent, and often ob-
scure, though invariably genuine, as if what should have preceded
had been omitted, — how are these to be depicted ? The causes of
his joy and sorrow remain veiled; nothing but individual ori-
ginality; superficial organizations only can be insensible of his
magnetic influence. His talent is not of mere instinct without
experience and tuition, but embraces at once the mysteries of
music and of the heart. His style and his playing are equally
great.

With Liszt his play is all in all ; he is the Genius of perform-
ance. All expedients to put on a semblance of inspiration are
spurned by him. His inspiration can proceed only firom the
innate existence of his own creative powers, which are equal to
those of composition. The universal stirring of the age has with
its other emancipations produced him. Even raillery nas in vain
been directed against him ; and envy he will overcome even as he
has overcome his instrument. Wnence does this arise? He
has turned his attention to all the arts and sciences, trodden
their path for the benefit of his art, to load her with all the riches
of the intellectual world. If he reflects Beethoven so admirably,
it is because he no less thoroughly fathoms Shakspeare, Goethe,
Schiller, and Victor Hugo ; because he comprehends the com-
poser of Fidelio more even in his genius than in his works.
Liszt is Beethoven's hand. The softest emotions of Beethoven's
soul he expresses with his fingers. This he has only attained by
the powerful wings of poetry, which elevate the arts, and which
henceforth will be the line of distinction between the musical
artisan and the real artist.

An account of the performance of Don Giovanni at the
Theatre Italien finds fault with much in the representation, and
states generally that the Italians do not, and will not, understand
Mozart's masterpiece. Mademoiselle Unger as Zerline showed
what a German is capable of.

At the end are very short, closely-printed pieces of news, in
which Marschner's opera Des Falknera Brant, 1833, is classed
with the new ones ; Wolfram's opera Das Schloss Candra is called
Kanthera^ and Lobe's Die Furatin von Orenada is christened
Les Princes de Grenade. Several numbers contain a list of new
music, as in our notice sheet; others short reviews, which we call
brief notices.

An article upon the Sixtine Chapel at Rome is carried on
through several numbers. Our own ' Gazette' and the ' Cecilia'
have long since, and frequently, noticed this subject ; we thereforo
pass over it.

THE MUSICAL LIBRARY.

H. Herz, Op. 70, comes off badly again. Then there is an
account of the opera Le R^venant This we have also noticed.
If we can only get at the secret of making two sheets out of one
without falling out with the reader or the publisher, then as much
arain shall be given at once anjcl as quick again. The notice of
Myhi Stadler is short: he died in his 86th (not 85th) year.
Hummel's Twenty-four Studies are commended upon the whole,
and vee have here a Dream of Weber*s, related by himself, there-
fore a translation*

It is hoped that this will be sufficient for a first glance. The
publication has our good wishes for its success, and we shall from
time to time return to it, to acquaint our readers with its
progress.

BEETHOVEN'S WILL.
This curious document, which may be considered as a kind of
ap(4o^ for himself, was written by Beethoven during a dang^-
ous uiness, and found at his death among his papers. The
brother to whom it was partly addressed, died some years before
Beethoven.

To my Nephew^ Carl, and my Brother Ludwio Beethoyen.
Oh ye inconsiderate men, who pronounce me a morbid, strange,
or misanthropic being, how great is the injustice you do me !
Little do you know tt^ real cause of what you consider singular in
my conduct. My heart and mind were framed, from my very
cradle, for the gentler feelings of our nature, and seemed
destined to accomplish something great. To the latter I always
felt myself irresistibly compelled. But only conceive, that as
early as my sixth year^ I was unhappily attacked by a complaint,
ivhich was rendered still more afflicting by the blunders of
the medical men under whose hands I was placed. After drag-
ging on year after year in the hope of getting better, I was at last
doomed to the unhappy prospect of an rremediable evil; no
<nire at least, if any were possible, was to be expected till after a
lon^ series of years. Though bom with an ardent and
lively disposition, and a mind susceptible of the pleasures of
society, I was obliged to withdraw early from a participation in
them, and lead a solitary life. Sometimes, it is true, I made an
effort to overcome every obstacle thrown in the way of social
enjoyment by the defect in my organs of hearing ; but, oh, how
painful was it to find myself incapacitated, repelled by my weak-
ness, which at such moments was felt with redoubled force. How
was it possible for me to be continually saying to people, " Speak
louder; keep up your voice, for I am deaf ?** Alas! how was it
possible for me to submit to the continual necessity of exposing
the failure*of one of my faculties, which, but for mismanagement,
I might have shared in common with the rest of my fellow-
creatures ; a faculty too that I once possessed in the fullest per-
fection ; indeed, in a greater degree than most of those of my own
profession. Oh, the thought is overpowering! I entreat your
forgiveness if I seem to give too much way to my feelings. When
I would willingly have mixed among you, my misfortune was
felt with double keenness, from the conviction it brought with it
that I must forego the delights of social intercourse, the sweets of
conversation, the mutual overflowings of the heart. From all
this was I debarred, except as far as absolute necessity demanded.
When I ventured to appear in society, I seemed to myself a kind
of excommunicated being. If circumstances compelled me to
appear in the presence of strangers, an indescribable agitation
seized me ; I was tortured by the fear of being rendered conspicuous
only by my infirmity. In this state I remained a full half year,
when a blundering doctor persuaded me, that the best thing I
could do to recover my hearing, would be to go into the country.
Here, incited by my natural disposition, I was induced to join m
the society of my neighbours. But how bitter was the mortifi-
cation I experienced, when some one near me would stand listen-
ing to the tones of a flute, which I could not hear, or to the
shepherd's song sounding from the valley^ not one note of which
I could distinguish ! Such occurrences had the effect of driving
me almost to despair, nay, even raised gloomy thoughts in my
mind of seeking relief in self-destruction. It was nothing but my
art that restrained me; it appeared impossible for me to quit the
world, till I had accomplished the objects I felt myself, as it
were, destined to fulfil. Thus did I continue to drag on a miser-
able existence ; truly miserable, inasmuch as, with so sensitive a
constitution of body, any sudden change was capable of hurrying
me to the most violent extremes, i es. Patience, I must take

thee for my guide and eondnctress ; I hope to follow thy dictates,
and persevere to the end, till it shall please the inexorable fetes to
cut the thread of my existence. Yes, be it for better or for worse,
I am prepared to meet the issue. For one in his 28th year to
become a philosopher is no easy task; and still more difiicult is
it for an artist than for any other man.

Father of goodness, thou who lookest into the inmost recesses
of this heart, thou knowest that feelings of humanity and bene-
volence find a place there. Oh you that hear this, reflect on the
injustice you do me ! and let the child of misfortune console him-
self that in me he has, at least, a partner in unhappiness; and
one who, in spite of all the obstacles of nature, has still done
everything in his power to gain a place in the rank of able artists
and honourable men.

I charge you, mv dear brother Carl, and you my nephew
Louis, as soon as I am dead, to send in my name for Professor
Schmid (on the presumption that he will survive me), that he
may take down in writing the nature of my complaint ; and I
desire that the document may be joined to the present paper, in
order that, after my death at least, the world may, as far as pos-
sible, be reconciled to me.

At the same time, I hereby declare you the joint heirs of the
little property, if so it can be called, which I have been able to
lay up ; share it equally and justly ; live in harmony together,
and assist each other. Whatever you may have done against
me, be assured that it has long since been forgiven. I thank you,
in particular, my dear brother Carl, for the affectionate attentions
I have experienced from you of late. It is my sincere hope and
wish that you may lead a life more free from cares and sorrows
than mine has been; teach your children to love virtue; she
alone, and not perishable gold, can make them truly happy. I
speak it feelingly, and from experience; her hand it was that
upheld me in tne midst of the ills of life. To her influence, next
to that of my art, do I owe the blessing of not having terminated
my existence by suicide. Live morally, and love one another.

I return thanks to all my friends, and, in particular, to Prince
Lichnowsky, and Professor Schmid. It is my wish that the
instruments presented to me by Prince Lichnowsky should be
preserved by you with the greatest care, but let no dispute arise
between you respecting them. If, however, it be more advan-
tageous to both, let them be sold ; for the thought of my having
assisted you in Ufe will render me happy even in death, and cheer
in some degree the gloom of the grave. So let it be ! —

With joy do I hasten to meet death : nay, should he come even
before time is allowed me to accomplish all the objects of art
which I have in view, still, in spite of my hard fate, would I wel-
come his arrival, and wish him early here. And have I not
reason to rejoice at his approach, since he will free me from a state
of unceasing sorrows? Yes, come when thou wilt, thou stem
messenger, I will go with joy to meet thee.

Live well, and be not forgetful of me even in death ; I am not
undeserving of this from you, since in life you were frequently in
my thoughts, in my endeavours to render you happy. So be it !— •

Ludwio Van Beethoven. (L. S.)

HtiHsfenMtaA, Oclohfr 6th, 1802.

CONCERTS.

ANCIENT MUSIC.

SIXTH CONCERT, WEDNESDAY, the 2 lit of May.

Under tbe Direction of the Archbishop of York.

Orertore. (Ooeon'ona/.) • • • • • Hakdsl*

Selections from Alexander's Feaet . • • • • Hamdbu

Recit. * Now strike the golden lyre.'— Chonis. • Break his hands of

sleep asunder.'— Becit * Haik 1 hark ! the horrid aound.' — Saog.

< Revenge 1 rtrenge !' Mr. H. Phillips.
Song. < II mio tesoro/ Signer Ruhini. {Ucn Giovanm,') . • Mozart«

Glee. * Bird of the wilderness.' • . • • Grbatorbx.

Qn^o. *OTototiwneiido.'| («^««^.) . . MoainT.

Song. « Fte qnesta helW Signer Tamburini. • • Mozart.

Chorus. 'Fornntous.* {Meniak) • • k HAmmu

^. 'tS^^^S^'}^ Signor.G.GrW. {Don Ohvmmi,) . Mo.A.r.

Hamsbl*

R«nL ( Far th« hanm of Pkunah ' ^

Recit < For the horse of Pbaroah.")

Recit < Sing ye to the Lord.* > (^Jtraeim E^ypi,) "i

"" ' "* ider.* J

Ghor, * The horse and his rider.*

Haksbu

THE MUSICAL LIBRARY.

MCT n.

Symphony. (Swrprw.) • . • • • Haydn.

aJng. '^•'^Irtfe'*} Signora G. Grisi. {11 Saerifizio d^Ahramo,) Cmarosa.

Glee. ' When winds breathe Boft' • • . «

Duetto. ' 11 coie vi done/ {^^ ^'^^^i,^^} ^'^^' Tamburmi. J

Qnaitetto. - ' Benedictus.* • • • • •

Redt * E il padre.' • 1 j^^ ^ tiuu«„

Song. 'Gialavittimaiatale-7 Mm. H. Biahop.

Motet. ' Glory, praise, and adoration*' • • «

IS: '&^rt^^'} Mr.H.PluUI^ (:>*«».)

Mouaer.

7oifBI.LI.
HOZAST.

Hansbl.
Chorus. ' Father, ve adore thee.' (JinfaA.) • • • Hatdn.

The audience felt much indebted to his Grace of York for bo very
good a selection, which presented not a single work that the most cap-
tious critic could object to ; and two of the pieces were new, not only to
the Ancient Concerts, but to this country — ^tne first a Benedidus^ a flow
of sweet melody, accompanied by harmony of the richest, at the same
time, most tranquil kind, from a grand mass hy Eybler, a contemporary
of Mozart, and a friend of Haydn, residing at Vienna, where he was
choir-master to the Scotch church ; the second, a scena from Jomelli's
Erifile, the recitative of which, however, is rather too long, requires
too much declamation for any singer to whom the language is not
native. Mr. Phillips's song from AUxanders Feast is one of his many
triumphs : his performance of the minor movement, *• Behold a ghastly
hand,' might challenge Timotheus himself to a competition. ' Bird of
the wilderness,' is a beautiful melody skilfully harmonized. Tlfte fine
scena from Idomeneo received ample justice from the performers : the
solo part was simply, therefore well, sung by Rubini : hut he thought
he had done enough in executing this in a sober manner, and gave full
way to his ruling passion, in ' II mio tesoro,' which he converted, as
usual, into a kind of vocal exercise, the tremolando not being omitted ;
though this, we believe, to be a physical defect. The fine march in
Idomeneo was encored ; but it was some time before the most reve-
rend director nodded his fiat. ' For unto us a child is born, ' was
executed in a splendid manner. Mr. Kny vett is not guilty of the glaring
blunder of beginning this chorus jmno^ and breaking out into ^ forte, at
the word * wonderful.' Signora G. Grisi was not so happy here in the
scena from Don Giovanni^ as she is on the stage. In *• Sing to the
Lord,' she displayed prodigious energy, and would have been eminently
successful, but for a violent, an outrageous shake on the minim o, in
the seventh bar. The audience actually started at this extraordinary
breaking-ouL This lady delivered the recitative, * Chi per pietl^' in a
deeply impressive manner; and the succeeding aria was a fine perform-
ance, though not equal in effect to that which preceded it. Mrs. Bishop's
' If guiltless blood,' was pure and pleasing. Her share in the duet of
Mozart was very deficient in animatk)n. It is a great mistake to give
this to any but an Italian, when an Italian is at hand to sing it.
Mr. Phillips sang the air from Deborah most affectingly ; and the
chorus from a mass by Haydn, with English words adapted to it, termi-
nated the concert in a glorious manner.

EIGHTH CONCERT, WEDNESDAY, June 4th.
Under the Direction of the Eari. Howe.'

ACT I.

' Te sons of Israel.

Signora Gniii.

(JbtAva.)
(^Scmiramide^

Introduction and Choms.

Seeit. < Gracie vi renda' \

Song. ' A compir.' J

ChMonne and Requiem. . • •

Madrigal. ^ Down in a flow'ry vale.' • Con^tantius

Song. * Pleasure, my former.' Mr. Braham. (Time and Truth.)

Quartet and Chorua. < Then round about.' (Sam«on.)

Song. < Or sai chi Tonore.' Signora Grisi, {^Don Gmvoihu.) •

Trio and Chorus. < Sound the loud timbrel.' . •

Choius. ' nitelSjAVAm^' } ^' ^^^^ (•'•*• ^•<*->

Handkl.
guolxblmi.

JOMBLU.

Festa, 1541.
Handcl.
Handbi..
Mozart.

AviSON.
HaMSBXm

CORBLLI.

Strrkbl.
Haicdbl.

Spofporth.

PURCBLL.

, Handbl.
Haydn.

Concerto 8th* • • • • i

Quartette. ' L'astro di venere.'

Song. * In sweetest harmony.' Mrs. W, Knyrett. 1 /■ c . / \
Chorus. 'O fatal day!' . . . / . (Sm/.)

Glee. ' Mark'd you her eye.' • • • •

Music in the Tempest. • • • •

Song. < Shall I in Mamre's.' Mr. Boisragon. {Joshua^ •
Chora. *• O sing unto Jehoorah.'

Lord Howe, who directed for his venerable colleague, Lord For-
tescue, rivalled the Archbishop in excellence of choice, and gave a concert
which made every one regret that the last of the season had arrived.
The chorusses were admirably executed, but the last was somewhat
tedious, for the passages are too often repeated, and is certainly unrea-
sonably long for a finale. Signora Grisi was again out of her element
in ' A compir' ; her repertoire^ like that of almost every Italian singer,
extends only to the prevailing operas ; all beyond is as a sealed book.
Her air, * Or sai chi Ponore,' was, however, a very impassioned and
mat performance. Equally admirable, but in a very diffisrent styie-^
mr, indeed, the character of the music is wholly different — was Mrs.
W. Knyrett in the lamentation of DavM over Jonathan ; and not

less chaste and perfect was Mr. Braham in the charming air
from the oratorio of Time and Truth. The selection from Jomelli's
Requiem was judiciously made ; this is undoubtedly one of the greatest
of his works, one that will much hnprove on intimacy. But the chaconne
by which it was introduced, beautiful as it is, is not exactly suited for
the purpose. Tf any dance — (this chaconne is a dance tune) — ^be a fit
overture to a Missa pro defiindis, it is the Dance of Death ; and though
this is engraved, it has never to our knowledge been set to music. The
delicious madrigal of Festa — ^the credit of whose revival belong* to the
new Vocal Concert — received the honour of an encore, a rare incident
at the Ancient Concert, The orthodox vehemently abuse * Sound the
loud timbrel.* We are decidedly heterodox on this point, and, however
we may be objurgated for our taste, confess that the composition is very
agreeable to our ears, once or so in a season. But the novelty of the
evening — we had almost said the gem — was the quartet, or nottumo^
by the Abbrf Sterkel, a vocal work by whom we never before met
with. The upper part was deliciously sung by Miss Clara No-
vello, who was well supported by Messrs. Terrail, Hobbs, and
Boisragon. The latter made his first public appearance on this
occasion. He possesses a good base voice, and so far as we could
judge from the share he took of this quartet, is a good singer. We
could not remain to hear him in the song from Joshua^ therefore can
only report from hearsay, that he executed it correctly and with pro-
priety. The delightful glee of Spofforth was nicely sung, and pleased alL
The * Music in the Tempest' proved a very parsimonious selection from it,
consisting only of ' Come unto these yellow sands,' and * Hark ! the
watch-dogs bark ;* for the glee * Where the bee sucks,* is Ame's — ^not a
note of it belongs to Purcell. The quartet from Samson was never
heard to greater advantage : and the fine concerto of Corelli, with th«
heavenly Pastorale, ' Fattoper la notte di Natale,' (see page 14,) was
executed with a truth and delicacy that we verily believe cannot be ex-
ceeded.

THE PHILHARMONIC.
SEVENTH CONCERT, MONDAY, June 2d.

ACT I.

Sinfonia Eroica. . . . . • Bbxthotbk.-

Aria. * Come lieto.' M. Ivanhoff. • • • • Pacimi.

Fantasia. Harp. Made. Bertrand. • . • Bbrtrand.

Duetto. < Calma, o bella.' Madame Stockhauaen and Mr. Phillips. (Der

BtrggeUi) . • . • • Sporr.

Overture. {Der Ber$g€ist.) • . • • SpoHtt.

ACT II.

Sinfonia in A. • • . • F. Mbndblssohn BartboLdt.

Duetto. < Non fuggir.' M. Iranhoff and Mr. IPhiUips. {Guglielmo

Teli.} . . • . . . Rossmi.

Air wvn€. Violin. M. Vieuxtemps. • • • Db Bbkiot*

Scena. < Si lo sento.* Madame Stockhausen. (Fous/.) • • Spobb.

Overture. {Fidelio,) . • ... Bbbthovbn.

Leader, Mr. F. Crambb — Conductor, Mr. Moscbelbs.

Beethoven's Symphony, written, he tells us, to celebrate the death of
a hero — (**composta per celebrare la morte d'un Eroe") — has nothing
in it, according to notbns generally entertained, of the funereal or
sorrowful character, except the march. Rather the contrary, for the
scherzo, the trio, and the finale exhibit a vivacity almost amounting to
playfulness; and even the first movement is far from grave. But
Beethoven never sat down to compose without intending to describe
something ; and, as his mind was differently constituted from that of
most people, it is possible, nay, pretty certain, that the whole of thia
work 18 an accurate representation of some well-conceived and well-
connected train of ideas, however he may have differed from others in
his mode of giving a musical form to them. The whole is, past all
dispute, the creation of a mighty genius.

The funeral march goes deeply to the heart of all who are sensible to
the effects of music. The change in this from minor to major is almost
transporting ; and the recurrence of the subject hardly le^s affecting.
The scherso hurries the hearer along with it, increasing his surprise at
every bar, which does not abate during the progress of the last equally
original and extraordinary movement. But certainly the symphony ia
long, and, with the addition of a vocal piece of a complexion ^uita
different, is enough for one whole act. Thus it should always be given,
and thus it would always be enjoyed. To follow it almost immediately
by the duet and overture of Spohr, compositions of a similar cast, and
emanating from nearly the same school, was extremely ill-judged, and
shows how little thought is exercised, how entirely calculation is neg-
lected, in the formation of these concert bills. But a further proof of
this is given at the very beginning of the next act, where we meet with
a composition — an exceedingly clever one, certainly — the merits of
which are only disclosed to such as direct their attention laboriously to
it, and are become familiar with it by frequent hearing. A light and
comparatively simple work, one of Haydn's earlier compositions, would
have been a much better relief to Beethoven's elaborate symphony than
that of Mendelssohn, which is a study, and requires to be studied, and
called for fresh exertion from the already fatigued mind which required
something on which it could quietly repoM.

THE MUSICAL LIBRARY.

Madame Bertrand, a French lady, first appeared publicly in England
at this concert Her tone is powerful without being harsh, and she has
a full command of the instrument' ; but we cannot say a word in praise
of the music she chose for her dc^but : it was deplorably trifling. The
wonder of the evening was a boy not yet fourteen years of age — indeed
bis appearance would warrant a belief that he is much younger, named
Vieuxtemps, who has been brought up at the Conservatoire of Brussels,
and is now a pupil of De Beriot, whose tone, taste, manner of bowing,
and general style he has been so successful in acquiring, that his playing
might easily be mistaken for that of his master. We cannot bestow
higher praise ; and, in confessing our astonishment at such greatness of
talent, such execution, and, what is yet better, so much soul, together
with such strength and firmness, we only acknowledge what we felt in
common with every one in the room at all capable of appreciating this
genuine prodigy.

M. IvanhofiP sang, very sweetly, as good a composition as Pacini is
capable of producing. He also joined Mr. Phillips in one of Rossini's
finest works, to which both did the most complete justice. But it was
not received with the applause that both the music and performance
deserved. The duet of Spohr was not executed in so satisfactory a
manner as we have witnessed. Madame Stockhausen sang the scene
from Faust most correctly in every way, but she wants phvsical power
and rather more animation to make her performance of such music
perfect.

BIGHTH CONCERT, MONDAY, JUNK 16.

Symphony, No. 11. . •

Song. ' Oh ! *tifl a glorious sight.* Mr. Braham.
Concerto in E flat, pianoforte. Mrs. Anderson.
Scena. < Dal asilo.' Madlle. Grisi.
Overture. (^Egmont.)

• . Hatdn.

(^Ohenm) C. M. Von Wxbbr.

, Bbxthovbn.

• • Costa.

• Bbxthotbn.

Symphony in C Minor • . • • Bbbthotbn.

Aria. ' Come per me sereno.' Mad. Caxadori Allan. {La Sonnambu/a.) Bblxjmx.
Concerto Violin. Madame Filipowicz. . . • Rovblli.

Aria. * Tanti affettL' Madlle* Grisi. (La Donna del Logo) . Rossini.

Overture. Jubilee. • . . . C. M. Von Wbbbr.

Iieader, Mr. Wbichsbl — Conductor, Mr. Nbatb.

Haydn's eleventh symphony, less used than most of the same set,
came out with something like a freshness, and, if there is any truth in
the expression of countenance, very much delighted the audience; except,
perhaps, that jportion of it whi^h has an inclination to relegate this com-
poser to the Ancient Concert, under the pretext that he is already entitled
to the honours oi antiquity. Tlie c minor symphony of Beethoven,
which should have come first, as the least light of the two, was marvel-
lously well executed^ notwithstanding the heat of the orchestra, against
which the wind instruments had to contend. Indeed, in the concerto of
Beethoven they had been so sharp that a very fine pianoforte of Broad-
wood was by some thought in fault — to have fallen considerably below
the true pitch. The grand dramatic overture of £^07k^, and that which
goes by the name of the Jubilee, were not less ably performed than the
symphonies. The latter concluding with our national air, ' God save
the King,' was properly chosen for the last night, in compliment to the
patron of the society. The company, which continued more numerous
to the end than is now customary, rose the moment the first note of
this was sounded. Mrs. Anderson's performance entitled her to all the
applause she received ; the exactness of her time, and the certainty, the
unsurpassed neatness, of her execution, were admitted and admired by
all. Nor were the leader and band generally less conducive to the well-
going of this extraordinary composition ; to accompany it in the superior
manner now witnessed, required that skill, that unrelaxed attention,
which we never meet with, in the same degree, out of the Philharmonic
orchestra.

A violin concerto from a lady was indeed a novelty ! such we believe
as never has been heard since the time of Madame Gautherot, and that
is much longer ago than we are willing to believe. Madame Filipowicz
is the wife of an exiled Polish colonel, and, happily for herself and her
family, is mistress^of an accomplishment— if the fair ladies of Britain
will allow us so to designate it in relation to a female— which will not
only secure her and hers against the sufferings to which most of her
gallant, unhappy countrymen are reduced, but supply present comforts,
and, with prudence, future independence. We will not speak of her
as a lady-player ; she has no need of appealing to our gallantry, or to
ask for lenity on account of her sex ; she is an artist, a good one,
possessing all the requisites of a first-rate player, — tone, expression,
taste, and execution. Her knowledge of music, too, is, we happen to
know, not of a confined nature. At a private party one of the difiicult
quartets of Onslow, with which she was unacquainted, was placed
before her, and executed with a correctness that seemed the result of a
long previous knowledge of the composition* The singularity of a
female violinist at first excited a half-concealed smile, but those who
came to laugh (mentally) remained to admire. The really enthusiastic

* One of oor greatest and most esteemed leaders has placed his son under
Madame Filipowica for instnioUon on tlie Tiolin.

applause bestowed on Madame Filipowicz is partly, no doubt, to be
ascribed to her sex, .to her banished condition, and to the sufferings of
her country; but most of it was excited by the talent she displayed,
not as an exile, not as a femaleV but as a musician.

The vocal part of -this concert was better than ordinary. Mr; Bra-
ham sang Weber's grand scene 'with his accustomed fire and feeling.
Madame Caradori' Allan executed Bellini's aria with the correctness
and neatness in which she never fails. We'wish, however, that she
would not sing 'this same thing so frequently. It really palls on the
sense. Signota Grisi was now quite herself in the aria written for her
(introduced in V Assedio di CcrirUo), a composition which does much
credit to Signor Costa, who has ingeniously brought out in it all the
powers of the singer. She was not less happy in the aria from La
Donna del Logo, giving a kind of novelty to it by her new and charming
manner of singing it.

This concert was the last for the year, and completed the twenty-
second season of the Philharmonic Society. May it long continue !
Its orchestra — which, as circumstances demand, will no doubt be well
replenished — will give perpetuity to it, if all personal influences are
guarded against, all jobbing prevented ; these are the only evils that
threaten its well-being.

MADRIGAL SOCIETY.
When recording the great pleasure afforded us at the anniversary of
this Society in January last, we little expected to enjoy a repetition of it
so soon ; but the President, Sir John Rogers, Bart., with a liberality
worthy of his rank and genius, finding the metropolis so fiill of amateurs
and professors, especially the latter, who were drawn to town by the
Musical Festival in Westminster Abbey, invited a numerous party of
them to dinner at the monthly meeting of the Society, at Freemason's
Tavern, on the I9th ult., and thus a vocal force was collected little
inferior, if at all, to that of which we gave an account in our Second
Number. The President managed such of the business of the day as
fell to the lot of the chabrman with a spirit and adroitness, a cheerfulness
and urbanity, but rarely witnessed ; and tiie conductor, Mr. Hawes,
very ably seconded his views concerning the pieces selected for
performance, and the manner of executing them. Tne annexed is a list
of them, set down in the order in which they were performed : —

Hosanna • • • • in 6 parts • • • • O* Gibbons.

Round about the chariot • 6 do Elus Gibbons.

sleep, fond Fancy • • 4 do. • • • • Bbnnbt*
Sister, awake ! • • • 5 do. • « • « « Batbson.
Kyrieeleison • • • • 5 do. . • • « « Lbo.
Now is my Cloris ••• 5do. ••••• Wbblxbs.

Hard by a crystal fountain • 6 do Morlbt.

Ah me I <^uoth Venus • • 5 do. • . • • • W. Ltnlbt.

Sweet Philomel . • • 5 do. • • » • • J. Wakd.

Basti qui fin le pene • • 10 do. • • • • Lvca Mahbnsio.

Our bonny Boots • • • 6 do. • • « • . Moelbt.

1 will sing of thy power • • 5 do. . • • • • Grbbnb.
Within a greenwood • • • 5 do. • . • . Fbrretti.

Most were chosen because not so much hackneyed as several of the
well-known madrigals ; indeed nearly half Qf them were strangers to
many of the company, who were as much gratified as surprised to find
what a mine of musical wealth, created by the masters of the sixteenth
and seventeenth centuries, remains yet to be explored. One modem
madrigal, and one only, was performed, composed by William Linley, Esq.
set to words from Shakspeare's Fenus and Adonis^ a work undeniably
proving that the genius which inspired those of the olden time is not
extinct, but survives in one at least, whose knowledge of modern refine-
ments enables him to shed a grace over . his productions to which the
art was nearly a stranger during the time of the early writers. The
only regret expressed was, that the President did not allow one of his
own clever and lovely compositions to be performed. His self-denial
could not but be admired, though it was by no means welcome to those
who knew what from his pen might have been brought forward.

BENEFIT CONCERTS.

Ma. Haweb's, Willis's Rooms, April 28th, a fully-attended vocal con«
cert, consisting of songs, glees, and madrigals, with the sestet from
Cosi fan tuite, ' The electionr was of works that have established a
reputation with the public. Miss Maria Hawes, a young lady about
seventeen years of age, with a sweet, though at present small, voice,
perfect intonation, and a good style, made her first essay on thia
occasion, with a fair prospect of ultimate success.

Mr. Vai7Ghan*8, Hanover Square Rooms, April 30th. — ^The evenings
was exclusively and well devoted to Dr. Crotch's great work, the
oratorio of Palestine^ ably performed by Madame Caradori, Mrs. W.
Knyvett, Mrs. H. Bishop, Miss C. Novelio, Mr. Braham, Mr. W«
Knyvett, Mr. Vaughan, Mr. Phillips, &c. &c., and a full choral and
instrumental band. The numerous audience now collected proves that
a composition of this kind, if of high and deserved repute, has slilL
attraction enough to draw together nearly seven hundred lovers of solid
musia Mr. F. Cnuner led the band, and the author himself oonductedt.

THE MUSICAL LIBRARY.

Mb* SALK*g, HuBoyer Sqoave Rooms, May iBi-^Jfomtit^. — ^Tbe
presence of the Duchess of Kent and Princess Victoria, together with
a selection of great excellence and variety, not only filled the room, hut
the unoccupied part of the orchestra, with company. Except Weber*s
overture to The Ruler of the Spirits^ and a duet hetween Mrs. Anderson
and Mori, the concert was wholly vocal ; the performers were Mrs. H.
Sishop, Miss Lloyd, Miss C. Novello, Messrs. Braham, Vaughan,
Hohhs, Sales, £. TayJor, H. Phillips, kc,, Signora G. Grisi, Signers
Rubini, Tamburini, and a complete instrumental band.

Mr. Moscheles', Hanover Square Rooms, May 8th — Morning, — ^The
principal features of this concert were, the new Concerto Fantasiique
of Mr. Moscheles, played by him at the Philharmonic Concert, in April
^for an account of which we refer the reader to our last Number), and a
Rondo BriUanU with orchestral accompaniments, written for this
occasion by his friend M. Mendelssohn, — a very clever composition, and
executed with all that energy and extraordinary accuracy which charac-
terize Mr. Moscheles' performances. A M. Vrugt, • first tenor- singer
to H. M. the King of Holland,' made his dtSbut in a Dutch ballad,
* Maria,' — the lamenting of a husband over a deceased wife — an elegant
composition, full of tender expression, but certainly an imitation of
Beethoven's Adelaide. We have mentioned this artist in another part
of the present Number. M. Ghys, who appeared at the fourth Phil-
harmonic, played in a very masterly manner a Fantasia, &c. ; and Mr.
Moscheles concluded the concert by an extemporaneous performance on
the pianoforte. The room was fully and fashionably attended.

SiONOR GiUBiLEi's, at a private mansion. May 9th — Morning. — All the
strength of the Italian Opera contributed to support their colleague on
this occasion, Mrs. Bishop, Madame Dulcken, and Signer De Begnis,
also aiSbrding their assistance, who all successfully exerted themselves
in favour of a rising performer.

Mrs. Anderson's, Hanover Square Room, May 12th — Morning. — ^The
*best attended of the season. The Duchess of Kent, the Princess
Victoria, their large suite, and a very fashionable audience, so filled the
room, and even every vacant space in the orchestra, that we were only
able to hear, standing in a doorway, Beethoven's grand concerto in e
flat, executed with the utmost neatness and precision by Mrs. Anderson,
and admirably accompanied by a most efficient band. The best
English and Italian singers now in London were engaged for the vocal
department. ■

Mr. F. Cramer's, Hanover Square Rooms, May 14th. — ^Though Mr.
F. Cramer does not retire as a performer from his professional pursuits,
this was his last benefit, which many of those who are in the habit of
frequenting concerts, and know how to value solid talent and private
character, made a point to attend. His performance in Martini's
concerto in a minor ; Mr. J. B. .Cramer's, in his own ouintet with the
lovely movement entitled Day» of Yore ; Willman's, in the Fantasia of
Weber, lately played at the rhilharmonic ; and Corelli's Trio, by
Messrs. Lindley, Crouch, and Dragonetti, were all excellent, and duly
appreciated by the audience. He was also ably assisted by Mrs. W.
Xnyvett, Madame Caradori, Miss C. Novello, Mr. Phillips, &c.

M. and Mad. Stockhausen's, Concert Room, King's Theatre,
May 20th — Morning. — Except Beethoven's Op. 40, arranged as a sym-
phony by M. Stockhausen, which we were too late to hear ; a harp
fantasia by the same, and a solo of Mayseder, by Mori, this was a vocal
concert, supported by all the force of the Italian Opera, the chorus
from the German Opera, together with Miss Masson, Mr. Phillips, &c.
As a finale to the first act, * La fi^te des fiances,' a very pleasing vocal

Juartet, by M. Stockhausen, was well received ; and Madame Stock-
ausen sang, between the acts, two new Swiss airs, the chief recom-
mendation of which was her naive manner of executing them.

Mr. Cipriani Potter's, Concert Room, King's Theatre, May 21st —
Mormng. — ^A remarkably clever new symphony, in d, composed by
Mr. Potter, was performed for the first time, with great applause, as a
matter of course, for how could it be otherwise at the author's own
concert? But the real connoisseurs showed by their countenances that
their approbation was the result of impartial judgment, not merely of
courtesy. Mr. Potter also produced, on this occasion, a new concerto,
in B flat, in which he skilfully contrived to gain the suffrages of the
critics bv its ingenuity, and of the many, by the agreeableness of its
Btyle. A M. Vanden Bogaert, principal flute to the King of Belgium,
ulade his first appearance among us, in a solo of no great merit, but
executed with neatness. Cramer's duet for two pianofortes, performed
hy the author and Mr. Potter, delighted every one. The vocal party
conaisted of Mademoiselle Grisi, Madame Caradori, Miss Masson,
Signora Rubini, Tamburini, &c., who sanff some pieces exceedingly
irSl ; hot we cannot number among these Lord Burghersh's charming
madrigal, * Come Vanno,* which was completely demolished.

Jf a. Mobi'b, Co&ceii Boom, King's Theatre, May 2dd.~An excellent

selection of music, though certainly rather too much of it, supported
by nearly all the principal performers, foreign and British, now in the
metropolis. Mr. Mori played a new concerto, m e minor, of Mayseder,
one of the best of that composer's works, in an admirable manner ;
and the first movement of the concerto by Beethoven, which he so suc-
cessfully performed at a Philharmonic Concert this season. Messrs*
Moscheles and Herz executed a new duet-concertante on two piano-
fortes, composed by the latter, in which whatever can be done by
nimbleness of finger was accomplished. But our report must here
terminate, for the room was so crowded that it was with great difliculty
we found space enough to stand and to hear what we have now noticed.

Mr. Neate's, Concert Room, King's Theatre, June 3d — Morning. —
Mr. Neate played the first movement of his new MS. concerto, in d
minor, in a very brilliant manner, and with the success it so well
merited. Likewise a fantasia on Bellini's air, * Tu vedrai ;' together with
a martial air and variations, both of his own composition. Mademoiselle
Grisi, Madame Stockhausen, Signers Ivanhofi; Tamburini, &c formed hia
vocal strength. Mr. Mori and Mr. Piatt performed, the one a fantasia
of Mayseder, the other a concerto of his own, on the horn, ui which he
exhibited ability that ought long ago to have had an opportunity for
displaying itself. ■

Madame Sala and Signor Piozzi's, Concert Room, King's Theatre,
June 18th — Morning. — A Mademoiselle So{)hie Ostergaard made a first
appearance here, but not a very promising one: and Mademoiselle
Kynterland did net compensate the audience for the defects of the
former. But Mademoiselle Grisi, Madame Sala, Signers Ivanhofi^,
Rubini, Tamburini, 8cc. sang several good compositions in a manner
that atoided for whatever was given less perfectly.

Madame Filipowfcz's, at 32, Albemarle-street, June ISth, under the
patronage of the Queen. — This lady, whose performance on the violin
we have elsewhere noticed in this number, very much surprised and
pleased a numerous company. She was ably supported by the chief
singers from the King's Theatre, together with Mrs. Anderson, Mr.
Cramer, Signor Puzzi, &c. &c. It would be unjust not to mention that
all the performers assisted her gratuitously ; — ^that the Queen sent her
twenty pounds, and the Duchess of Hamilton ten.

Mr. Mori's Second Concert, June 23d — Mbmiwg.— At the same place.
Several persons having been unable to obtain tickets for Mr. Mori's
first concert, he was quite justified in giving a second, which was well
attended, though not so fully as the preceding one. He had, as usual,
nearly every performer of eminence, both vocal and instrumental, to
aid him, and got up a performance of a very interesting kind, — what
may be called an abrege of all the concerts that have taken place this
season. We would, however, willingly have dispensed with Monsieur
Bochsa's ' Panorama Musical,' a medley of old and new, strung to-
gether without judgment, and so played as to destroy the effect of half
the subjects he introduced.

REVIEW.

Six Canzonets, the poetry by the late Mrs. Charles Grbville, of
Bath^ composed by Henry R. Bishop. (Mori and Lavenu.)

Though Mr. Bishop has for some time past suspended his tlieatrical
labours, and yielded to the prevailing taste for foreign dramatic music,
which, like every thing else dependent on public opinion, must have its
day, he has not permitted his imagination to indulge in idleness, or
suffered his ink to dry up, but kept on producing, though — ^till the last
few days — not for the stage. We have now before us evidence that he
is become neither indolent nor rusty — undeniable proofs that he is still
active and polished. With these songs he clearly has taken no common
pains ; indeed it is not likely that he would have inscribed them to so
perfect a judge of what is good in the art, unless conscious that he had
bestowed on his work every attention that could render it worthy of her
acceptance. He must also have been actuated by a wish to do more
than common justice to the poetry of an elegant-minded lady who now
can write no more, but whose spirit is perhaps regarding with pleasure
the sounds he has united to her verse.

Gracefulness of melody, richness of accompaniment, and a general
correctness in setting the words, are the principal features of these
songs. Tlie first, • There is an hour,' is elegant and pleasing: we meet
here with a modulation or two in the style of the olden time, and not
less delightful on such account. The creeping, rising notes to the words
* steals gently o'er the heart' is a happy thought ; and the contrast of
minor and major, in the first line of page 2. is, musically considered,
not less fortunate. The second, ' When the fairy queen,' in the Spanish
style, with what may be called a guitar accompaniment, though not
written as such, is good throughout. The third, ' In halls of pride,' ia
remarkable for begmning in the major and ending in the minor ke;f.
This gives great additional force to the poetry. The fourth, ' There ia
a star,' and the fifth, ' I have dream'd of thee,^are written in good taste.
The sixth, TheMinUrdU Song^ beginning in the minor key and con*

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diidm^ in the major, is a plaintive farewell to thelyre; Hie elmtge ef
mode 18 not lees jadicious Jieie than in the instance above mentkHied.
But the separation of the words, page 27, is prejudicial to the sense.
Had the expression required pauses, which it does not, the intervals
diould have been filled up with a few deep notes, soft and slow — a
whispering, a murmuring— anything but high sounds, and chords
broken into quavers. The concludmg page, however, is well imagined
■—is really affecting. '■

SiLKCT Pieces from The Deluge, a Sacred Oratorio^ by F. Schnvi-

OBR, transUUed from ike German hy Edward Taylor; the accom^

panimerU for the Ptano-forle revised by V. Noyello. Nos. 1, 2,

3, and 4. (Mr. Taylor, 3, Regent-square.)

Mr. £. Taylor's skill in translating horn the German and adi4>Ung

his English version to the original music, rarely, if ever, altering a

note, accent and emphasis being always well preserved, is especially

deserving of notice, and entitles him to no small praise. It is not less

observable in the present publications than in Spohr's Last Judgment^

and indeed in whatever of the kind he has edited.

No. 1 is a soprano air, * Joy returning, hope reviving,' accompanied
by a chorus of four voices, smooth and pleasing ; it being intended, we
suppose, though not expressed, that, in order to make the principal part
prominent, the choral parts should be subdued, sung toito voce all
through. This passes into a chorus. No. 2, * All-just, alUwise Creator ! '
in a bold style, with some good modulations, but not departing much
from plain counterpoint, till it breaks into a fugue on two subjects, ably
elaborated, but like most other things of the kind ; for a very difficult
task it is to extract any novelty of effect from this species of composition,
or, in fact, from any sort of composition fettered by rules that are not
prescribed by either nature or cultivated taste.

No. 3 is a soprano solo, the beauty of which is chiefly attributable
to its simplicity, while the accompaniment shows the hand of an expe-
rienced master. The notes are not many ; every one, however, tells well.
No. 4, a terzetto for soprano, tenor and base, is written on the plan of
* How beautiful appear,' in The Creation. It is clever, certainly, and
bad Haydn's fine composition never existed, with which it can bear no
comparison either as relates to originality or effect, it would hold a
higher rank than that to which it now can aspire.

Grand Rondeau Brillant, /or tke Pianoforte, with orcheUral accomr
paniments^ composed 6y F. Mendelssohn Bartuoloy. (Mori and
Lavenu.)
We have before us the piece performed by Mr. Moscheles, to whom
k is dedicated, at his last concert, where the connoisseurs listened to it
with pleasure, though the majority of the audience could not, on a first
bearing especially, have felt or understood a single page of it; but
nearly all applauded it with a warmth implying a capability of entering
into its beauties. The truth is, that this is a study, a clever one, which,
until after a long acquaintance, can only be comprehended by a chosen
few. Its merits do not lie on the surface ; and it must be confessed
that the velocity of the movement and suddenness of the modulations
render it no easy matter for the most penetrating musician to enter
at once into the author's intentions, and still more so to follow him in
his progress. This rondo is in b flat, six-eight time, and praio, A
rich, lively fancy is manifested in every page, but its difficulty is ex-
treme ; difficulty, however, was not the author's object, though be oould
not avoid it, we conclude, in pursuing his design.

Brilliant Variations for the Piano-forte, on the Tyrolienne in
Auber's Opera La Fiancee, composed by Henri Here. (Chappell.)
M. Here has fixed on a g^-ni subject, which is discernible in some of
his variations, and those are the best in which it is to be traced. Nay
we once or twice fall in with a few bars of good harmony, but they are
like the * angel's visito' alluded to by the poet. Five-sixths of these
nineteen pages are absolutely impracticable to'such as do not devote
the best hours of the day to the overcoming of difficulties not in any
way worth surmounting, for when conquered, no person of true taste
can be tempted to listen to the performer, except as a sacrifice at the
ahrine of politeness. At page 5, we encounter a rapid run, down and
then up again, of unmeasured semitones in thirds. Is this melody?
Is it harmony ? Is it rhythm? — No. Then what is it ? An insuffisrable
bowL — This is the only rational answer.

Bouquet de M6lodie$, Fantasia /or the Pianoforte, on favourite Airs,
dedicated to his Pupil, Miss Elvira Walter, {eix years of age,}
and performed by her btfore their Majesties at Windsor Castle ;
composed by I. Moscheles. (Chappell.)
The title of this leaves little to explain. The fantasia consists of four
airs, from Tancredi, Die Zauber/lote, Masanielb, and a German song
of Hummel, arranged in a perfectly easy manner, and so blended as to
fonn a very agreeable piece for young people, as well as for all those
who are contented with what is pleasing, but not intended for display.
We have heard this nlayed by the interesting child to whom it is dedi-
cated, and were much gratified by the performance. Her portrait, a
good likeness^ lithographed, is on the title-page of this publication.

1. CairaolfBT, * They sayHiat hope is ImpplneBa,' Ae poetry bf Unh

Btroh, the ynusic by John Thomson, Esq. (Chappell.)
f • Ajidalusian Bolero, * La retour des Fianc<^' composed by JoA

Dbseauer ; the words by William Ball. (Mori and Lavemi.)
S. Ballad, ' Tibbie Inglis,' the words by Mart Howttt, the music b^

Leonarp Hatne. (A. Novello.)
No. 1 is a charming canzonet ; the composer has thoroughly entered
into the spirit of the poetry, and given musical utterance to it in thp
most impressive manner. This is a very superior production, but fax
too goody, we fear, for those who purchase songs at nearly sixpence
• page. ,

No. 2 possesses all the charms of Spanish music, with more vuriety
than is usually found in it Both French and English words are printed
under tlie air, the latter exceedingly well adapted.

No. 3 is a decided imitation of a favourite Scottish ballad, but both
words and music are of a very popular kind, therefore can hardly fail t^
be successful ; unless, being marked at only about three pence halfpenny
per page, it shall be thought too cheap. The preceding (No. 2) makes
a demand of half-a-crown for five pages, — sixpence a page !

To the EniTOR of the Musical Library.
Sir, — I beg to say that the epigram, • Wind, gentle evergreen,* set by
Dr. W. Hayes, is a translation from the Greek of Simmias of Thebej^
distinguished from another of the same name, who was a Rhodian, by
that of his country. He is supposed to be the same that is mentione4
among the intimate friends of Socrates who were present at his death.
I am. Sir, your obedient servant,
8, Regent Square^ June 5, 1834. Edward Taylor.

EXTRACTS FROM THE JOURNAL OF AN AMATEUR.

May 27th. The Oxford Journal says, •• The stewards of the musici^
room, with a laudable anxiety to provide the utmost entertainment at
the ensuing Commemoration, applied to that Prince of Fiddlers, Monr
sieur Paganini, who modestly demanded, for scnming his single string
the moderate sum of one thousand guineas ! " For the truth of this,
incredible as it may appear, I can vouch. A gentleman called on this
performer, to ask his terms for playing at the Oxford concerts during
the Installation week, and was informed, by the artist's managing man.
that one thousand pounds would be his price. Astounded at such a
demand, the applicant desired that it might be committed to writing;
which being done, and shown to Paganini, the daringly avaricious
Italian, who has acquired enough of our language to know the difference
between pounds and guineas, instantly directed that the latter word
should be substituted for the other.

SOth. At the moment when Signer Paganini has the assurance to
require a thousand guineas for playing about three times twenty minutes
at three Oxford concerts, he is advertising concerts here at seven shil-
lings a ticket, and collects about a hundred paying auditors. It has
been truly said, that while a single half-crown, over and above travelling
expenses, is to be had in this country, so long will he either remain in
England, or go and return, as heretofore.

June 1. The Musical Festival Committee of Birmingham have at
length announced that the ensuing meeting will take place in the course
of the second week of October next. This they have been enabled to
do in consequence of the completion, within the last few days, of
arrangements on the part of the Commissioners, by which the finishing
of the Town Hall, previous to the time fixed upon for the Festival to be
held, is amply ensured. Mr. Foster, the well-known architect of Liver^
pool, has undertaken to complete the work. The Earl of Aylesford
has accepted the oflSce of President of the meeting. — {Birmingham
Gazette.)

4th. The Concerts of Ancient Music terminated for the season this
evening. So successful have they been under their new arrangement,
that, after paying all expenses and discharging some arrears, money is
left in the treasurer's hands ; no doubt, therefore, is now entertained of
the continuance of an institution to which the art is so much indebted^
and, consequently, by which professors are so largely benefited. I
know not of any really great composer, or even performer, who has not
been grounded in the works of the ancient masters. Rossini has beea
mentioned as an exception, only, however, by those who overiook the
fact, or are ignorant of it, that, like all musicians professing the Catholic
faith, he was firom his infancy in the habit of hearing the fine masses
of the early writers, whence enough may be learnt to form an excellent
basis of musical knowledge. But we also know that he was acquainted
with Corelli's works soon after he had written his first opera. And it can*
not be too often repeated, that Haydn, Mozart, and Beethoven were warm
admirers of Handel, the two last to enthusiasm. The first was perhi^
a little jealous of his fame in this country, and did not very zealously
encourage the introduction of his works at Vienaa. But what w«Nild

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life been knoim 1b«re« exoept to a few stodioiw people, of Handel, had
riie Concert of Aneieiit MancneTnr exigted? — Out of Ibis sprang, what
fonne an em in the art, the grand Commemoration in 1784 and subse*
Meat years, which diffosed a taste for classical music over every part of
tne country, a taste that has heen spreading wider and wider, and im*
ptoving, ever since^ ■ *

^h. The Times of this day makes a stron^:^ attack on the arrange-
ments for the ensuing Musical Festival in Westminster Ahbey. The
irriter is very wroth at the reserved seats, and preferences. The ques-
tion was a difficult one, and I am persuaded that very few two-guinea
tickets would haVe been sold unless some plan had been adopted for
aecoring places without the enormous sacrifice of time, probably of
health, which must have been made to obtain them, had they all been
tiirown open. And the directors surely were not very unreasonable in
assigning seats to the vice-presidents and their families, who, by taking
tickets early, encouraged others to follow their example.
' What is said about the committee (of professors) not being '* conju*
fers," is most likely true. They were once assembled, and received
a hint that they were called together to approve, not to consult ; which
their noble spirits brooked. It is fair, however, to state that the
directors had nothing to do with the nomination and summoning to-
gether of this septuagesimal body of sages.

lith. A very edifying article, apparently official, has appeared in
t morning paper, praising the directors of the Musical Festival for hav-
ing considerately issued tickets at a guinea each, in order that the
** humbler classes" may have an opportunity of gratifying their musical
taste. Heavens ! what are we come to ?— 'The humbler classes paying
a guinea, i. e, a week's wages, for a concert ! Prithee, Mr. Scribe,
who are the *' humbler classes**? Respectable tradesmen would spurn
the denomination ; and all educated persons now rank with the upper
orders. The term, then, perhaps is meant to apply to menial servants.
If so, let ladies and gentlemen look to it ; for should Jehu the coach-
man, and John the footman, be found among the guinea-pigs, — (Mr.
finrke calls the *• humbler classes" the " swinish multitude'') — what will
become of the horses and carriages waiting at the doors ? They, too,
that is the horses, may, as part of the creation, wish to know what The
€}reaiion is about, and should they, being left to themselves, "just step
in,'* like Paul Pry, to inquire, chaos would indeed be come again,
without encoring Haydn's. But, to be serious, the directors must be
wholly blameless in this : no one, in the form of a gentleman, no
man of common understanding, could have devised any thing so stu-
pidly offensive.

Viih. The trial in the Court of King's Bench yesterday about the
copyright of the song The Old English Gentleman^ was entertaining
enough in some respects. Two or three soi-disant composers fell into
the hands of the Attorney-General, who, not being quite satisfied with
the title they had assumed, asked them some awkward, provoking
questions, which were not answered in a manner to exalt the respondents
in the eyes of the court. Composers ! There are people in this world
who can flatter themselves into a belief of any thing, however pre-
posterous, provided the illusion gratifies their vanity.

FOREIGN MUSICAL REPORT.

VIENNA.

Demoiselle Bodgorscheck, who as a concert singer had already acquired
considerable celebrity here, recently made her debut as a dramatic
singer at the Hofoperniheaier^ appearing sAArsaz in Semiramide. Her
voice is a fine counter-tenor. She experienced an indulgent reception,
her efforts generally meriting applause, at the same time that there was
great room for improvement, which a better acquaintance with the
boards will no doubt effect.

A concert has been given by the manager of the Society of the
Friends of Music. The announcement that M. H. Vieuxtemps was to
play was alone sufficient to attract an overcrowded audience, to whom
his performances on the violin afforded, as usual, a high intellectual
enjoyment. Demoiselle Therese Heilingmayer also lately gave a con-
cert, playing a concerto by Bochsa, and variations for the harp, in a
most delightful manner. The vocalists were Demoiselle Schebest and M.
Pockh. Madame Believille«Oury's concert took place on the 9th of May.

BERLIN.

KonigssiUdter theater. — Bellini's Norma has been produced here, and
excited an enthusiasm seldom witnessed in the present day. The parts
of Norma, Adelgisa^ and Sever — which were written expressly for Pasta,
Grisi, and Donzelli, and therefore require, of course, singers of no
mediocre ability to do justice to them — were very effectively sustained by
Demoiselle H&hnel, Madame Schodel, and M. Holzmiller; that of
Orotisivfv^ given with energy by M. Fischer.

The absence of novelty in the productions at the Opernhaus of late
has been amply HK>mpensated for by the admirable performances of
Madame Schroeder Devrient, who commenced i. series of representations
at this theatre on the 6th of April.. She has appeared as Julia in Die
VestaUny FideUo, Desdemona, Donna Anna^ Agathe in DerFregsckutx,

Amagili in Cortex, and Resia m Oberon. Her Desdemana was a moil

exquisite performance as regards both the acting and the singing, and
her Donna Anna was equally ravishing, in consequence of the grand
tn^ic feeling which she infused into it.

A young singer, M. Yon Poissl, lately made an unsuccessful debAt
here as Joseph^ in the opera Joseph in Egypt.

On Palm Sunday, the members of the Singakademie gave a pei^
formance of Sebastian Bach's Grand Passione^ in a highly gratifying
manner. During the Passion week, also, there were two conce^ given
— ^not of a sacred character — ^the one by M. Herzberg, a pupil ot
L. Berger, in which he displayed great talents as a pianist ; the other
by the brothers. Eichhom, at which latter was played a pianoforte con-
certo, composed by M. Taubert, which, according to the opinion of
competent judges, is one of the finest compositions of this description
of modem times : the performance of it, too, by the composer, waa
excellent.

Kapellmeister Schneider's oratorio, Christi Geburt (the Birth of
Christ), was lately given at the Garrison Church, under the direction of
the composer, the solos being sung by the principal vocalists then in
Berlin. It was altogether a most gratifying performance.

Rungenhagen's oratorio, Christi Eimug in Jerusulem^ is stated to
be a composition in the genuine oratorio style, displaying great powers
of musical expression, especially in the choruses, and is entirely fre^
from the besetting sin of those modem composers, who direct all their
efforts to produce, not sterling music which may carry their fame to future
generations, but noisy, unmeaning effects.

DRESDEN.
The annual musical performance for the benefit of the widows and
orphans of deceased members of the chapel took place on Palm Sun-
day in the saloon of the old Opera House. As on former occasions^
the members of the chapel were supported and assisted by the co*openu
tion of the principal members of various musical institutions in Dresden.
Handel's Messiah, with the added accompaniments of Mozart, was given,
being the first time of its performance here entire, for it hafl previously
been heard in fra^ents only. In the second part of the entertainment
Beethoven's admirable symphony in C minor was played. The whole
went off most brilliantly, and the receipts exceeded those of any former
year. The Kapellmeisters Morlacchi and Reissiger were the con-
ductors.

On the 10th of April, a concert was given by M. Pott, of Oldenburg,
a Danish professor, and pupil in composition and violin-playing of
Spohr and Kiesewetter. The peculiar qualities for which this artist ia
remarkable are a rich and full tone, sure and perfectly pure intonation,
extraordinary powers of execution, and the infusion of deep expression
into his play. M. Fiirstenau performed at this concert some variations
from the Zauberjlote, The singers were Demoiselle Schneider and MM#
Zesi and Schuster. M. Hummel lately played before the court, when, aa
usual, his genius manifested itself in his extemporaneous fantasia upon
three subjects which were handed to him.]

Leipzig!

On the 20th of March, Fr. Schneider, having shortly before arrived here,
produced his new oratorio Gideon, the text by Bruggemann, a work of
great merit, particularly in the second part, tnough upon the whole in-
ferior to his Weltgericht (the Day of Judgment) and Pharao.

A series of Quartett Soin^es given by M. Math&i, afforded to the
lovers of good music the opportunity of hearing some classic and choice
compositions delightfully executed.

On the 20th April a most attractive concert was given here for cha-
ritable objects. An overture composed by Mendelssohn Bartboldy,
Meeresstilk und gluckUche Fahrty (Calm at Sea, and prosperous Voy-
age) was well executed, and favourably received. On the 22d, M. Henri
Vieuxtemps played in public, as did also another French virtuoso about
sixteen years of age, M. Ix)uis Lacombe, first pianist of the Parisian
Conservatoire de Musique, who does honour to the institution which
fostered, his talents : his style is powerful, solid and grand, and he fear-
lessly encounters the most difiicult and intricate passages, which he
never fails to execute to universal admiration.

FRANKFORT.

The brothers Mfiller were playing quartetts here at the end of April.
Their exquisite performances ensured to them the enthusiastic reception
which they have invariably experienced wherever they have performed. .

NURNBERG.
Since the opening of the Opera House here in October, there have
been only two new operas produced, namely, Die Fremde (La Straniera)
of Bellini, and Auber's Fiorella^ his least successful effort. The present
atre^gth of the opera company is as . follows :-~Madame Schweitzer,
formerly of Cassel, the prima donna, creditably supported by Demoiselle
Hezel, M. Lowe, the tenor, a very useful singer, with a good voice, and
three bass-singers, MM. Geissler, Wolfram, and Herbert

On the 5th March a very pleasing concert was given by M. Tupler,
which was well attended: the finished and expressive style of this
artist entitle him to a high rank among the violinists of celebrity. On
die Ml April, KapeUmeist^' Bemhard Romberg, at a concert wmch bp

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gave, played on the violoncello in Ub masterly style, and drew fortb the
warmest applause.

MAGDEBURG.
Although the delight and zealous participation in musical performances
has of late tended to increase very considerably the number of Musical
festivals, there has not been one held in Magdeburg for the last nine
years. It has been announced that a grand festival should take place
there on the 28th, 29th, and 30th May. The following works are selected
for performance : — Handel's Oratorio, Joshua^ on the first day ; and on
the third day, Mozart's Easter Hymn, a composition of the 24th Psalm,
by Fr. Schneider, Beethoven's Sinfonia Eroica, and a Symphony, by
Kalliwoda. The second day to be devoted, as there would be so many
distinguished virtuosi on the spot, to a general concert, which was ex-
pected to be of a very brilliant character. The direction and conducting
of the whole was undertaken by Music- Director Dr. Schneider, from
Dessau, the members of whose vocal institution were to assist in the
performance. The number engaged for the orchestra is stated to
exceed one hundred and fifty persons; the solo singers and chorus
amount to upwards of two hundred and fifty.

HEIDELBERG.
The Musical Society here have made arrangements for an Annual Fes-
tival, to afford the frtend.s of the art a similar enjoyment to that yielded
by the Festival of the Lower Rhine ; the first performance was an-
nounced to take place on the i5th May, and, weather permitting, on the
ruins of the castle, when Haydn*s Creation was to be given under the
direction of M. Bemhard Kreutzer.

BASLE.

Dur Subscription Amateur Concerts this year, led by Music-Director
Joseph Wassermann, have been received with the liveliest applause.
The most important orchestral compositions performed were sympho-
nies of Beethoven, Mozart, Haydn, Neukomm, and Kalliwoda, Weber's
Overtures to Der Freyschuiz, Der Beherrscker der GeUter (Ruler of the
Spirits), and Jubilee Overture, Anber's Stumme^ and Fra Diavolo^
besides others by Beethoven, Cherubini, M^hul, Lindpaintner, and
Rossini. Demoiselle von Dulcken, a pupil of the Conservatoire in
Paris, was engaged as principal singer : she has a good style and flexi-
bility, and sings with taste. Solos were played on the violin by M.
Wassermann, a pupil of Spohr's ; on the violoncello, by M. Oswald,
from Munich, seventeen years of age ; and on the oboe, by M. Reuther,
a distinguished virtuoso from Carlsruhe.

THE DRAMA.

King's Theatre.
Rossini's Donna dd Lago was revived on the 27th of May, — ^an opera
with a good and popular subject for its libretto, and having to boast
of two if not three original, striking melodies, which catch the ear,
and remain long in the memory — qualities of high value ; but it must
otherwise be numbered with the composer's rather feeble works:
though, compared with the productions of his imitators, of the servile
herd, whom the love of novelty in name keeps afloat for a time, it
stands high in the list of musical dramas. Signora Grisi exerted all
her powers to support it, especially in ' Cielo, 11 mio labbro inspira ;'
though this delicious quartet belongs not to the opera, but is an
auxiliarv from Bianca e Falliero, and has been employed to reinforce
more tnan one opera during the last dozen years. The part of
Malcom was performed by a Mdlle. Degli Anton, who has no chance,
unless she improves wonderfully, of ever rivalling those who have been
successful in the character.

On the 12th of June, UAssedio di Corinto, * a lyric tragedy,* was
performed for the first time on this stage. In 1820 Rossini wrote for
and produced at Venice his Maomeilo IL, which signally failed. The
story of the latter nretends to be that of Byron's Siege of Corinth, but
it is altered with the ill-luck usually attending the attempts of poets
attached to the Italian theatres. In 1826, Rossini having engaged to
compose an opera for the Academie Roy ale de Musique, it struck him
that he might turn his neglected work to account; by the omission
therefore of some few pieces, the addition of others, and a translation
into the French language, Maometio was metamorphosed into Le
Siige de Corinthe^ and the Parisians received it with acclamations ; for
not only was the Greek cause then popular — ^not only were they flattered
by having an opera in their own beloved tongue from the pen of the
gran maestro^ but they really knew better than the Venetians how to
appreciate much that it contained. . This, re-translated, is the opera now
performing, and is thus cast: —

ilfaoffie/Ztf //.» Emperor of the Turks • • • • Siqnor TAXBURim,
C/eometus, Governor of Corinth •••••• M. Itambofp.

Neociet, a young Greek officer • Sigmob Rubini*

Pamira, daughter of Gleomeuea . ' • • Sionoba Giuuitta Grisx.

Hieroi, guar£an keeper of the tombe • • • • SiONoa Giubujm.

The fact of the siege and destruction of Corinth is ^historical, and

took place in 1715; but Signor Rossini's poet-in-ordinary thought the
15th century a better period for his drama, and the second Mahomet-—
he who with his own hand cut off the head of his beloved mistress, the
beauteous Irene — a character more likely to interest than the Turkish
general Kara Massa, and made his dispositions accordingly.

The present story is this : — Corinth is besieged by Mahomet Cleo-
menes has promised his daughter to Neocles, but she, having seen and
become enamoured of Almamor^ hesitates to comply with her father^a
wish. CUomenes and Neocles are made prisoners ; Pamira seeks them
in the tent of Mahomet, whom she discovers to be her Almanzor, She
claims Neocles as her brother, and obtains the release of Cleomenes.
But love of country triumphs over her love for the supposed Almanzor;
she espouses Neocles, Mahomet advances, is on tne point of taking
Pamira by force, who saves herself at the moment by her dagger ; but
whether she finally plunges it into her bosom, whether she dies at all, or
falls into the power of the conqueror, does not appear. Corinth is
taken, reduced to ashes, and the scene of conflagration terminates the
opera. This scene has been praised by the papers. It is perfectly
ridiculous. So little is perspective attended to, that the assailants seem
nearly as tall as the towers of the city, the tops of which they might
have reached in one easy leap; and by stretching out their hands,
carrying a piece of lighted paper in them, they could easily have set the
whole of Corinth in a blaze, witliout the trouble of throwing shells, and
the waste of combustible materials.

Tlie music is in Rossini's second style — that which he adopted when
he became a convert to the superior merit of the German school.
The concerted pieces are numerous, the single airs very sparingly scat-
tered. The accompaniments are full, and, but that the scene is laid
amidst the horrors of a siege, we should think them too violent. The
overture is all, except a short, sweet andante, sheer noise. The Turkish
unmusical instruments may be very characteristic, but a severe head-
ache is too great a price to pay for such propriety. The Introduzione
is, for the most part, masterly, pleasing, and free from mannerism. The
terzetto, * Destin terribile,' the first half in the minor key, the second in
the major, and in canone, if we mistake not, is pathetic and charming.
In the ninth scene is a beautiful air, and chorus of women ; but in the
same, Rossini is guilty of one of his most unpardonable sins. What
must be thought of a very lively, an almost comic, melody, to the follow-
ing words ? —

' L* alma che geme

Non ha pid speme^

Piil non resiste

Al suo dolor.'

In Act ii. Scene 2, is an air, ' Dall' asilo della pace,* by Signor Costa,
written purposely for the prima donna to display her flexibility of
voice and perfection of execution. It is well contrived for this, and
creditable to the composer ; though we protest vehemently against the
practice of such interpolations. If necessary to strengthen a part by
any addition, this should be made, whenever possible, from the works of
the same master. There would have been no difliculty in finding some-
thing by Rossini to answer the purpose. In Scene 4 of the same act,
the chorus ^ Divin profeta,' a larghetto in three- four time, a piece of
simple counterpoint, is exceedingly beautiful ; and in Scene 6 is a gentle
and most pleasing trio, ' O sol di chi Tadora,' and a splendid duet, 'Ah !
cielo ! che veggo?' But the finale to tills act is in the composer's most
noisy, commonest, worst manner. In the third act, which was added
for the French stage, is a good pregkiera, or prayer ; also a terzetto ;
though this is imitated from the Mose in Egitlo.

L Assedio di Corinto will not be popular here, as now brought out. It
might have been made more interesting, both dramatically and musically,
and rendered a useful stock-piece : as it is, it will seldom be given, and
never draw an audience by the force of its own attractions. The per-
formers exerted themselves much to support it ; the management did
little or nothing. The dresses, except of the three or four principals,
are shabby, and in bad costume : the scenery abominable.

On Tuesday, the 17th ult., this opera was repeated, when Signora
Grisi omitted all her part, except what was indispensably necessary to
the dialogue : indeed the last and most important scene she left out
altogether, so that the denouement was brought about by the burning of
a little tow, dipped in spirits of wine. She had sung the niffht before at the
Philharmonic, and at Covent Garden, perfectly well : she performed at
two or three places on the following Wednesday, yet could hardly open
her mouth on the intermediate day! The fact is, that the Italian theatre
pays by the season — if it does pay — concerts by the night. At the one,
sinff or not, the salary is demanded ; at the others, no sing, no pay^
is the rule. On the same night, Mademoiselle Taglioni, who was adver-
tised to perform, never made her appearance, and no excuse was offered
for her absence. M. Laporte was called, who was as flippant as usual.
When asked if Taglioni did not absent herself on account of the non-pay-
ment of her salary, he replied by a shrug of the shoulders. Yet the
public bear with all this ! Foreigners may well ridicule our fashionables ;
they are the most patient under insult, the best and greatest dupes that
all Europe can produce.

LONDON: CHARLES KNIGHT, 22, I^UDGATE STREET,

PaufTXD Bx WILLIAM CLOWES; Duxi Stbibt; LjjcBXTf.

MUSICAL LIBRARY.

Monfblyi Supplement

No, V. AUGUST, 1834. Price Sixpence.

CONTENTS.

Pan
Tlie Howe of' Part V/ • • • • 49
The Rovil Musical FeatiTal in Weaimintter
Abbey 51

Fust Perfoniuuice
Second „

P«ce

55
56

Third Perfonnanoe
Fourth ,.

FSfS

. 5S

THE MUSIC OF PART V.

Duet.— (Page 69.)

Time has not thinn'd my flowing hair,

Nor bent me with his iron hand ;
Ah ! why so soon the blossom tear,

'£re Autumn yet the fruit demand ?

Let me enjoy the cheerful day,

"Till many a year has o*er me roird ;

Pleas'd, let me trifle life away.
And sing of love 'ere I grow old.

These verses were altered by the composer, William Jackson,
of Exeter, from the fidh and seventh stanzas of ' Hammond's
fourth Elegy.'

James Hammond, Esq., whose love elegies all who now find
time to read the poets of the early part of the last century agree
in admiring, was born about the year 1710, and died in 1742.
His elegies, imitated from llbuUus, are addressed, not to an
imaginary mistress, but to a lady named Dashwood, who, un-
touoied by the poetry of her warm admirer, made no return to his
passion, and died single. — [Concerning the composer, vide p. 25.]
\Ve have transposed the music from a to o, knowing by experience
that few voices can with the ease that is desirable smg it in the
former key.

Aria— (Page 72.)

With verdure clad the fields appear.

In nature's softest hue attired ;
By flowers perfumed and gay,

The senses through long months are chamed.

Here fragrant herbs diffuse their sweets,-—
Here shoots the healing plant :

With luscious fruit the yielding boughs are hung ;
In leafy arches twine the shady groves,
And forests brown o'er lofty summits wave.

From the first part of Haydn's Creation, the text of which
was written, in German, by the Baron Von Swieten, and by him
translated into English, We were, during many years, content in
this country with the rude version ; but the absurdity of it at
length led to some corrections. We have made many more alter-
ations in the words of the air now inserted, which now are at
least intelligible.

The Mansion of Peace — (Page 75.)

SoA zephyr, on thy balmy wing.

Thy gentlest breezes hither bring.
Her slumbers guard, some hand divine !

Ah ! watch her with a care like mine.

A rose from her bosom has strayed,

111 seek to replace it with art
But no I Hwill her slumbers invade ;

I'll wear it, fond youth, next my heart

Alas ! silly rose, bad'st thou known
Twas Daphne that gave thee thy nlace,

Tlou ne'er trom thy station had'st flown ;
Her bosom's the mansion of peace.

The author of the words is unknown. . The music, which was*
and deserved to be, universally admired some forty years ago,
and b formed of durable materials, is the composition of . . .^

SAMUEL WEnBE,

bom in 1740, the son of a gentleman who held an office in Mi-
norca under the British Government, where he died suddenly,
and his family not beingr able to obtain possession of his property,
his son was placed witn a cabinet-maker. But when nis term
was out, he commenced a course of self-education, and laboured
till he acquired a knowledge of the Latin, French, and Italian
languages. About the same time he added music to his other
studies, in which his progress was so great that at the age of
twenty-six he obtained a prize-medal from the Catch-club. In
1768 he received a second, for his glee * A generous friendship.*
Between that year and 1792 no less than twenty-seven medajs
were adjudged to him. * But four of his finest compositions,' it
is remarked in the Harmnnicon, • namely, " When vnnds breathe
soft," '* Hence all ye vain delights,'' *' The mighty conqueror/*
and •* To me the wanton girls insulting say," were unsuccesful
candidates for the golden honours bestowed on works of inferior
merit ; while of many of the medals he obtained, not more than
seven or eight were given for compositions that are now known.
Eight, indeed, . were the reward of useless mechanical labour,
exhibited in the form of canons, none of which have survived the
composer ; and seven were the meed of catches, one of which,
'^ To the old,lon^ life and treasure," still maintains its ground.'

In 1784 Mr. Webbe was appointed Secretary to the Noblemen's
Catch-club ;^and in 1787 he became a professional member and
librarian of the Glee-club, then newly established. It was for
this society he wrote both words and music of ' Glorious Apollo.'
He now added an extensive knowledge of German and Hebrew
to his other acquirements, * and,' says the work just quoted,
* made himself conversant in many branches of polite literature*
He even wooed the Muses, and of several of his works the poetry
as well as music is believed to be from his pen. He also excelled
in fencing and dancing, and added to his various accomplishments
a simplicity of manners and benevolence of disposition, that en-
deared him to a large circle of acquaintance, among whom were
some of the most distinguished persons of the day.'

Mr. Webbe was the author of 107 glees, besides masses,
anthems, single songs, &c. He died in 1817.

Funeral March — (Page 77).

From Handel's oratorio of Saul, commonly called the Dead
March. The composer also used it in his Sanson, as part of
which it was performed at the recent Festival in Westminster
Abbey.

Overture, Samson — (Page 78).
This overture, which has always been a favourite, more especially
the minuet — ^for which, however, Handel is much indebted to an
opera air— was also performed at the late Royal Festival.

Air, Plachy— (Page 82).
This has not long been published in Germany^ whence we have

THE MUSICAL LIBRARY.

just receiTed it, with a strong recommendation. The melodious-
ness of the subject^ and the clever^ pleasing manner in which the
variations now selected are written, made us determine to print it.
M. Plachy is a German, living, we beUcTe^in Vienna. He has
^thin the last few years published several works^ that display
genius as well as scientific knowledge.

Chorus, Thb Fourth Plaque op Egypt — (Page 86)»

Do. The Sixth Plague — (Page 88).

Do. The Seventh Plague— (Page 88).

These are the four consecutive choruses in I$rael in EyyptyVrldch,
at the Commemoration of Handel^ and again at the.. late Festival,
produced so powerful an effect. They are now newly arranged
from the original score. The symphony to the Hailstone chorus^
8houl4 be played quite staccato till the voices come in. * He
sent a thick darkness' is legato all through, except the notes
marked (^tKer^rise. . ' Hp smote all the first-bom' requires, to be
played with spirit; the notes and chords separated by rests, are
fltrcmg^and short,> In the second movement of this, - the raening,
and the same passage whenever it occurs, must be played rather
shceaio, and brilliantly, but the soft passages, at ' He led them
forth like sheep,Vall legato : the point, ' He Drought them out,' in
a bold animated manner.

Song,— .(Page 77).

Adieu ! ye streams that sweetly flow.
Ye vernal airs that softly blow.
Ye trees bv blooming tprinff arrayed.
Ye birds that warble through the shade,

Adieu!
Krom ye without a pang I fly,
And drop no tear, and heave no sigh ;
But, Anna, forced from thee to part^
l¥hat anguish swells my reiiding heart t

Adieu!

The words we found set to an old glee, and can assign no
author to them. We have altered the lines considerably in
adapting them to the present air.

llie music is by C. G. Reissiobr, of whom we only know that
lie is a very rising composer in Germany, where the air has re*
centhf been publuhed, as one of six * Oesdnge und lieder fur
et06 Sopran oder tenor siimme.*

GtBE,— (Page 78).

Ne^er trouble thyself with the times nor thor tamiDgy
Affictions run circular, and wheel about ;
Away with thy murmuring, and thy heart.bnming,
Widi love and with hope we will drive all care oot.^
Ke'er chain nor imprison thy soul up in sorrow;
What bils us to-day may befriend us to-morrow.

This first appeared in Playford'a ' Musical Compamon,' pub*
lished in 1673, from which we have extracted and scored it.
The glee is there printed in sin^e parts, that for the second voice
being reversed, — ^turned upside down, to enable a performer on
the opposite side of the table to sin? from the same book. The
author of the words is not mentioned. The composer is

MATTHEW look,

so celebrated for his music in Macbeth. He was a native of
Exeter, where he was first instructed in music by the organist,
Wcdce, but afterwards studied under Edward Gibbons, a son of
the famous Orlando Gibbons. Soon after the restoration he was
appointed composer in ordinary to the Royal Chapels.

Lock was the first who composed regular music for the English
stage. He began with Shakspeare's Tensest The next was
JPsycfte, which was followed by Macbetlh performed in 1674. He
was also the first to publish rules for thorough-base, which ap-
peared in 1673, under the title of Melothesia» He was autter
of several songs in 'The Theater of Music/ 'The Treasury of
Music,' and other collections of his day. 'The professional
character of Lock,' it is observed in the ^afimmuofi, 'is thus
Siuniaed up by Dr. Bumev : ** He was the first who furnished our
stage with music ia which a spark of genius was disooverable ;

and^ who, indeed was the best secular composer our country could
boast till the time of Purcell." ' But this,' adds the former, 'is
cold and inadequate praise. The music in MatAeth is a lasting
monument of the authcff^s creative power,^ and of his judgment.
If file age in which it was produced, the infantine state of dra«
matic music at that period, the paucity and imperfection of in-
struments, and the humble condition of what was then called aa
orchestra, be all duly considered, his work will be described, not
as a spark, but as a blaze of genius, the brightness of which nei«
ther years nor comparison have been able to dim.'

Song,— (Page 80).

The fVoodmam.

Stay, traveller, tarry here to-night.

The rain yet beats, the wind is loud ;
The moon, too, has withdrawn her light.

And gone to sleep behind a cloud. *

'Ha seven long miles across the moor, —

And should you chance to go astray,
You'll meet, I fear, no friendly dooi^

Nor soul to tell the ready way.

Come, dearest Kate, our meal prepare^

This stranger shall partake our best;
A cake and rasher be his fare,

With ale that makes the weary blest.

Approach the hearth, there take a place.

And till the hour of rest draws nigh.
Of Robin Hood and Cfaevy-Chace

We'll sing, then to our pallets hie.

Had I the means, I'd use you well ;

Tis little I have cot to boast :
Yet should you of this cottage tell.

Say Hal the Woodman was your host

The words by William Pjearcb, a successful dramatic writer
at the end of the last century. He was author of The Nunnery^
1785; Neiley Abbey, 1794; fFindsor Castle, 1795, &c. The
music is by

THOMAS LIKLET,

to whom we are indebted for some of our best English operas.
He was bom about the year 1730, and received instructions ii^
music first from Chilcot, organist at Bath, then from the cele*
brated Paradies. Assisted by the high talents of his two
daughters — afterwards Mrs. Sheridan and Mrs. Tickell — he on*
^nated and carried on during many years concerts at Bath^
which much contributed to the popularity which that city so
long enjoyed. In 1774» Mr. Christopher Smith, the secretary
and friend of Handel, having declared nis intention of relinquish*
ing the management of the London oratorios, Mr. Linley, by
the advice of hb son-in-law, Mr. Sheridan, united with Mr,
Stanley in carrying them on, and continued them several years.
On the death of Stanley, Dr. Arnold joined him.

In 1775, The IHienfia, to which he composed and adapted the
music, was brought out, and ran uninterruptedly seventy-five
nights. In 1779, he purchased a large share in Dnuy Lana
Theatre, where he produced The Carnival of Venice; Sebma and
A^NiT, from the French; The Camp, (Mie of Sheridan's best
operas ; The Spanish Maid; &c. His Six Elegies were produced
at Bath ; and nis Twelve Ballads, after the death of his favourite
son, Thomas, a young man of extraordinary genius, who was
upset in a boat and drowned, while on a visit to the. Duke of An«
caster, at Grimsthorpe, in Lincolnshire. The first ballad refers to
that untimely event. ' The works left at the death of the father
and his son, were collected and published in two volumes after
the death of the former,' which took place in 1795.^ These contain
' a rich assemblage of songs, madrigals, elegies/ &c. ; one of them^
that unrivalled madrigal from Cowley:

* Let me, careless and unthoi^htful lying.
Hear the soft winds above me flying.'

f la Uie epi^, tliii lias I

With lbs jiiics s£ the gcsfe WU govidi lbs fixe aiit.

• OfMr.Lmley'siiiaoyeliildnnbiitoiniiirnvM,WiUiamLi]ile7»^
voanffy WW, by Mr. Fox, ;appomied to a writenhip at M adnu; and ha subsequent! j
filled the tespcmsibWtiffioee of pRmndal paymaster at VeUon, and sab-treasurer «l
thapn^doiey, Fort 8t George. He ntumed from India early, with an easy inda-
pendenoe, and has devoted much of his iima to compositiflB. Hi»9lees,whidi aie
&imiMoas,rsnl^ for ffeuBB and taste, wilh the best pfododioitsoTUus country. He
is also the aathor offsoma Ulsrazy works, partiealarly an elegy on the death of his
sistWi Mn. ShttidsB^ which appsaa in MoonTs < Lils of ahandaa/

THE MUSICAL LIBtlARY.

Ciaizoinnp— (P^ 82).

Far from this throbbing bosom haste.
Ye doabts and fears that lay it waste :
Desr anxious days of pleasing pain»
Fiji never to retam again.

But ah ! return, ye smifing hours.
By careless fancy crowned with flowers.
Come* fairy-joys and wishes gay.
And danoe in sportive rounds away.
So shall the moments gaily glide
O'er various life's tumultuous tide.
Nor sad regrets disturb their course
To calm oblivion's peace&l source.

• The words by Mrs. John Hunter : the music by Haydn (vide
pagel5>

THE ROYAL MUSICAL FESTIVAL IN WEST-
MINSTER ABBEY.

In the two first Numbers of this work we have entered into a
father detailed account of the commemoration of Handel in 1784,
and of the Musical Festivals which were celebrated under the
same roof till the year 1791 inclusive, when they were discon-
tinued. We have shown that the performers in the first year
were 513 in number, exclusive of the principal singers; that in
1785 thgr were increased to 616; in 1786, to 741 ; in 1787, to
825; in 1790 to a stiH greater number; and in 1791, to 1067-
That the gross sum received at these performances amounted
to nearly 51,000^., and the net profits to upwards of 26,0002. ; and
that of the latter 16,0002. were given to the Royal Socie^ of
Musicians, 5,5002L to the Westminster Hospital, and 4,5001. to
St. George's HospitaL

^ That me lustre of the commemoration of Handel has not been
dinuned by the late Festival, we may safely assert, on the aatho<»
rity of one now nearly an octc^enarian, a good and candid critic^
who was present at both, and is not Ifl^y to be swayed by
prejudice ; whose judsment is ummpaiied, and who can have no
motive whatever for disgiiising his real opnioo. Dr. Bumey,
too,^ an accurate observer, spes^Ls of the perfimBanees in 1784 as
having been perfect It mist, however* be granted, that not only
did the performers on the present oecasion exceed in moniiber those
collectecl fifty years ago^ bat that th^ generally were more
experienced, if not oth^wise superior. Allowing this, were there
tio advantages on the side of die eommemoratum that balance
those possessed on the recent oeeasicm? We are persuaded
there were, and vriU mention one that cannot be disputed* a
singularly important one— the fittings-up of the whole interior of
the nave and aisles.

In 1784, and indeed in the five subsequent yean^ the wood
fronts of the galleries and orchestra were oovmd with paper
coloured in a highly appropriate Gothie style, a very smaU, light
festoon of fringed crimson morine hanging as afimsh firom the
cushions on the ledges. The seats throughout, and the slender
back-rails of these, were also covered by the same material; but
not a morsel was used except where absolutely reouired. At the
Festival just concluded, the woollen manufacturers interest seems
to have been especiaDy consulted; wherever a firootage presented
itself it was loaded finom top to bottom with thick drugget. The
galleries, the orchestra, displayed a continuous expanse of sound-
subduing doth : and even the benches were completely clad in
raiment of the same stuff; they were petticoated to the very floor
with this woollen absorbent, as if an excess of sound had been
apprehended, and therefore means taken to prevent 'the ears of
the groundlings* from being 'spfit' by the too powerful bursts
of the orchestra. Whatever the intent, the result is not to be
denied ; the comlnnfed sounds of six hundred rmces and instru-
ments reached the auditors as if passing through some resisting
medium, and two-tlurds of the performers, if they had not had so
formidable an impedimeut to oppose, would have proved much
more effective. liKse who heard the musie in York Cathednd
in 1825, declare thal» vrith about the same number of perfi>rm«n^
but in an area of more than double that of Westminster Abb^^
therefore requiring a proportiottate body of sound to fill it, the
eflkct was greater than that just witnessed in tl» ca^al of the
empire, where whalercr eoida have given unrivaJIed graadeor to
thejperformances was witibin easy reach of the managers.

Where the b^ame c^this rests we know sot, but we may without
fear of contrsUUctioa aasertj that the muaieal authority consulted

in making the variods arrangements ought to have been awar^
that woollen substances are non-conductors of sound — an acous*
tical fact no less notorious than important — and that it was his
or their duty either to prevent so extravagant a use of anytlun^
of the cloth kind, or to yield only under protest.

But let us inquire what musical advice was taken in preparing^
and carrying^ through this festival 7

After the Xing had signified his rojral wiH, Sir 6. Smart issued
a circular to about seventy professors of musnc, not aH of theat
etnguren, as the limeg shrewdly guessed; on which a large and
ill-assorted group assembled, once, and once only; and for such
important service they r^eived a letter of thanks. At the meet^
ing of this collective wisdom of the musical profession, it was verj
significantly hinted, that the several individuals were called to-
gether silently to approve what would be laid before them, and not
to examine and discuss. Whereupon not a question was mooted;
and, instead of indignantly dissolving immediately, these gentle^*
men, these willing dupes, obediently became actors ixt the mockery,
and patiently remained, to make themselves responsible, if per*
adventure called to account, for resolutions in the formation of
which they had not been consulted, and which they were virtually
prohibited firom considering. This ^ Cononittfee of Musical Pro-
fessors,' then, clearly, were never asked for any advice at all.

But there was a ' Sub-Committee,' of some six or seven pro-
fessors, how chosen we have not learnt, and whose names do not
now aU occur to us ; we, however, have heard that this was so
contrived as to be in effect a committee of (me; and to this com-
mittee, whether of one or many, all the credit is due, we are UAd,
that accrues from the adrice on musical matters given to the
board of Directors* The value of the advice ma^ be estimated
by the effect of the sound, the selection of the music, the engage*
ment of what were termed the principal lingers, and the distribu*
tion of the parts among thenu

The nave of the Abbey is 150 feet king, tfnd» including the
aisles, 72 feet wide, its height 101 feet. Tbos space was converted
into a grand saloon, at the west end of whida was erected the
orchestra, rising, firom about eight feet from the floor, to the
middle of the great window, the prindpal mgpn and the instru*
mental performers occupying the nave part, the chorus filling the
portion in the aisles up to the tons of the azchts. At the east end
the royal box was placed, on tne ri£[ht and left of which were
boxes for the court attendants. Below then were, on the right
a box fi>r the heach of bishops, on the left one for the dean and
preb^idaries of the church, and in the centra iust below their
Majesties, the eight directors took their seats. At the same end^
and at the back of the line of royal baxes^ arose galleries, not
induded in the original plan, apinropriatcd to the firiends of the
Directors. In each aisle was built a long deep gallery, extending
finom the ordtiestra to the royal boxes, and projecting from the
wall to about three feet beyond the columns. The galleries con*
tained several rows of seat% rismg to the kqr-slones of the arches..
The aides bdow were fitted up in a manner simUar to the
galleries. Hie whole floor was covered br plaaks of wood, and ia
the nave^ aUowine a passage on each side, were ranged 38 rows
of transverse bemSies^ each boldinff sixteen persons.

To assist this descriptioD, vre have availed ourselves of the
kindness of the pcoprietors of the Penny Magazine, who have
aUowed us to use the very accurate and beautifiil wood-engravings
executed for thur work, of the royal boxes, and other seats con*
neeted with those, at the east end of the nave^ The organ, seen
at the badi of the king^s box, is that bdonging to the church,
standing over the screen, at the west end of the choir.

The three firont seats in the galleries, the two ft-ont ones in the
aiaiea bdow, and the whde of those ia the nave, were reserved
seats, at two guineas each. The gaUoriea above the boxes
allotted to the royal atteodanls were aba reserved, and at the
same priee* The back parts of the great galleries, and the
eorrespondmg phees faeneathy were open to one guinea tickets*
And here we imist remark, that some of ereil the reserved seats
were ao situated, immediately bddnd the columns, that it was
utterly hopdess for the occ u pier s to attempt to hear, except
thmi^h a mass of stones or to see any part of the orchestra or of
die pbces of hoaoor. A want of md frith was thus betrayed^
wfaidi BOl only justifies^ but csBs war the severest reprehension.
Indeed^ emi the gmnea tiekela Oi^ to have been so hmited, that
every parehaser weald be sure of a seat— of a seat in which
sedng and hearing were within As fMg^ of |ioesibility. Instead
of which, nuniberless persona who at tM earhest opportunity had

THE MUSICAL LIBRARY.

provided thenuelTes with tickets of this description^ were obliged
|o stand through the whole performanoe, in the midst of a dense
crowds where me chief views were entirely cut off, and the sound
arrived deadened by a circuitous route. More money was^ doubt-
less, thus raised^ but by means that would authorize the applica-
tion of a very strong term. And such cupidity is less excusable.,
because it was from the first perfectly clear that the receipts would
far exceed the expenditure.

We feel more satisfaction in stating, that the mode in which the
fidgets were issued— preventing as far as possible unfair pre-
ferences and jobbing — the ingress and egress, the arrangements
oonoeming the carriages, the distribution and management of the
police, &c., left nothing in these departments to be desired. The
.admission of several persons by money into the best part of the
Abbey, on the last day, and apparently without any check,
Temams to be explained, and doubtless will be accounted for in a
satisfactory manner. Though it is to be hoped that a practice so
fidl of danger, and in open violation of the rule advertised, will
not be drawn into a precedent.

Of the decorative part we cannot speak in very laudatory terms.
ITie royal boxes (placed much too low) were overcharged with

and with badges, or orders, ornaments more in keying
with the gaudiness of a modem theatre than with the solemii
character of a Gothic church. Indeed we understand that a person
from one of the theatres was employed on this occasion.

The fronts of the galleries, by being brought too forward, gave
a contracted appearance to the whole ; and the seats underneath
were thus not only rendered really gloomy and apparently close^
but spoiled for hearing. However, all that relates to mere show
is a very minor consideration compared with the serious injury
inflicted by the prodigal use of cloth, or drugget ; on which we
have above dwelt, for the purpose of guarding mture managers of
Festivals against an error so universally acknowledged, and of
such magnitude.

Of the music selected for this Festival, all agree that TTie
Creation, Israel in Egypt, the portion of Judas Maccabeus, and
The Messiah, were very properly chosen. Indeed there was no
choice left, as relates to the two first and the last ; they were im-
peratively called for. Of the selection from Samson, — or at least
of the place allotted to it, — of the music of Mozart, of Purcell,
of Beethoven's Mount of Olives, &c. &c., we entertain a very
different opinion, an opinion which we find is also that of all un-

[The Nave (looking EasO, ihowiug the Royal Box, and th« arrang-mentu for the celebration of the Miuical Fettival; taken from th*

front of the Orchestra.]— Frwi /A e < Penny Mugazint,^ No, 149.

THE MUSICAL LIBRARY.

biassed, competent judges. Of the man^ compositions of the
highest order omitted, while several of an inferior kind were • in*
tr^uced, we shall presently have occasion to speak. *

The principal 'singers were too numerous. Some, unhappily
for themselves 'an*d the audience, were employed in the higher ca-
pacity, who would have been more fitly' placed in the semi-choral
seats. ' Si^nora Grisi was hot in her ' right element ; and with
Signor Rubini we would on all occasions most willingly dispense.
In fact, though there was a liberality in employing the Italian
viriuosa and virtuosi, yet they were by no means necessary. We
will take this opportunity of saying, that w^e do tiot hold with
those who think that the chiefs of the vocal department at the
Commemoration were superior to those at the Festival just cMe-
brated. Of the supremacy of Madame Mara we have no doubt ;
but we speak on no mean authority when we say that Champness
and Reinhold were very indifferent singers, especially when com-
pared with a performer of H. Phillips's calibre. Of Harrison; we
do not hesitate to say, that he could not have produced anything
like the effect in Westminster Abbey that Braham did. But on
occasions of this kind, the principal singers are secondary persons ;
the combined whole is everything ; the solos, &c., are only wanted
as contrasts, as reliefs : the performance of these, however, should
certainly be of the best possible kind.

The band generally, both instrumental and choral,' can only be
mentioned in terms of the highest praise. It is true that little
was placed before them but what they could have performed al-
most without book ; nevertheless, to their zeal and unremitting
attention, as well as to their skill and experience, the public are
indebted for the performance of many compositions in a manner
that, it seems to us, realized the most sanguine expectations.

It is due to the performers of every class to publish their names
as widely as possible; we therefore insert a complete list of them,
from the books authorized by. the Directors. We shall then
give an account of each' performance. First, however, it is proper
to state that the Patrons "were '

THEIR MAJESTIES,
who appointed the following noblemen and gentlemen as

Directors .-

Xarl Howe (diainnan).
The Karl of I>enbigh^
The Earl of Cawdor,
The Sari of Belfast,

Lord Burghersh,

Sir Benjamin C. Stephenson, K.6.H.
Lord Saltoun (Hon.'T^ea^fUrer).
Sir A. Barnard, K.C.B. (Hon. Sec.)*

CONDUCTOR, SIR GEORGE SMART.

PRZlfCIPAL VOCAL PBRVORXERS.

Ftr the variomt Pn/onfumcef.— Madame Caradori Allan ; Madame Stockhaueen ;
Ifin Stephens ; Mrs. W. Knyrett ; Mrs. H. R. Bishop ; Mrs. £. Seguin ; Mrs. Sey-
mour; Miss Betts; Miss Brace; Miss H. Cawse; Miss Chambers; Miss Lloyd ;
Hiss BttssoR; Miss Clara Novello; Miss Romer; Miss Shirreff; Miss Turner;
Min Wagstaff; Miss Woodyatt; Master Howe; Master Smith. Mr. Braham;
lir.Vaiigfaan; Mr. Bellamy; Mr. H. Phillips; Mr. Bennett; Mr. Chapman; Mr.
Gonlden ; Mr. Hawkins ; Mr. Hobbs ; Mr. Homcastle ; Mr. Machin ; Mr. F. Robin-
■oo; Mr. W.Robinson; Mr.J.B. Sale; Mr. Sapio; Mr. E. Segtiin; Mr. Stretton;
Mr. B. Taylor ; Mr. Terrail.

Mademoiselle Giulietta Grisi, for the second and third Performances; Signor
Bnhini and Signer Zuchelli, for the s^ond performance; Signor Iranoffand Signor
Tmhaiiiiiy tat the third performance.

Hrtf P^/«reNMoe.— Mr.V. Novello, first and second parts; and Mr. Attwood
flndpaii.

Seeomd Peffirmameg^^Mt, H. R. Bishop, first part, and Mr. Turle, second and
third parts.

TAMPefybrsMMor.— Dr. Crotch, first and second parts, and Mr. Adams, third
pert

Fmrtk Per/ormtmec^Ut. W. Knyvett.

THE BAND.

TIOUNS.

£MNler&— CRgnof Spagnoletti, Itt and 2A partHof Iftt performance; Mr.T. Cooke,
^ part of let Mrformance ; Mr. Weichsel, 2nd performance ; Mr. Mori, 3d perform-
•net; Mr. F.Cnaier, 4th performance.

* Mr. PassT aded as' Honorary Assistant Secretary, in a manner that obtained
te Ub tlw Ihaaki of all concerned in the management of the Festival.

Prineipai Second Ftolint^
perfomanoe ; Mx.C. Beere)

Mr. Anderson

Baker, B. H. (Abev-

deen)

Betts, jun.

Btnfield, N. (New-
bury)

Blagrove, W. R.
Dr. Camidge (York)
Mr. Calkin, James, jun.

Cramer, W.

Cummins (Leeds)

Dando

Day

Dewar (Edinburgh)

Eames

Eliason

Ella

Elliot

Fleischer

Oattie

Oledhill

Ooodall (Shrewsbury)

Griesbach, A.

Griesbach, H.

Gutteridge (Brigh-
ton)

-Mr. I. Loder (Bath), Isi perforaumet ', Mr. W«tt% 8A
Sidpetformaiiee; M[r.Wagiliifil4ai] '

Mr. HoBand

Hnghes
Ireland
Jackson
JoUy, J.M.
Kesms

Leng(Hall)
Loder, J. jun. (Bath)
Mackintosh, A.
. Marihall (Oxford)
Marshall (Cam-

Mon, N. jun.
MueUer(Norwichy
Murray (Edinburgh)
.Musgrave, W.
Nadaud
Newsou
Nickel
Paine
Patey
Paton
Perry
Phillips
Phipps, W.

Tairoas.

Mr.

ss**

(Poiii-

Rawlinf
Richardi
Rooke
Seymoat
Sibley^ Jan*

mouth)
Smith,/,
8mtnS|F«
. Smitl^ C«
Thirwall (HaD)
Thomss, W.
Thomas^ E.W«
Thompson
Tolbeque

wSm

Watking

Weetiop

Whiter P« (Wiki-

field)
WUkini
Wood
Ziak

Prmcijpai^.— Mr. Mountain, 1st performance; Mr. Sherrington, 2d perfoimaaoe;
Mr. Lyon, 3d performance ; Mr. Moralt, 4th performance.

Mr.'Abbott

Mr. Daniels

Mr. HiU, H.

^^■^^P* ^ •

Davis

yr^itwr

Bates, F.

Dewar, W. (Carlisle)

Jones, W.

Bennett, W. S.
Bowden

Doirell
Forster •

Mangold(Dafiiistadi)

Calkin, Joseph

GlanYille

Nunn (Boij)

Calkin^ S.
Challoner

Goodban,T.jr.(Can.

Chubb

Hardman (York)
Hime (Liverpool)

head) ^

Dance

Ware

ViOLONCBlXOe.

Pnncifo/r.— Mr. Lindley and Mr. Crouch*

Mr. Bannister

Mr. Griesbach, J. H.

Mr. Loess

Biafield

Hatton

Phillips, W«

Boimer^

Latenu, L. H. .

Piffgott

Brooks, James

Lindley, C. .

PiggoH,S.(Dal)iui)

Calkin, James

Loder, W. (Bath)

RolSsekjt ^ ^

Giflbrd (Cambridge)

Double Basses.

Proici>a/rd-*Signor Dragonetti and Signor Anfotii.

Mr. Castell

Mr. Howell

Mr. Skilem, T.

Cttbitt

Humble

Smart, C.

EUiston, H.

(Lea-

Kench

Smith, A.

mingtou)

Mapleson, J. H.

Taylor

Griffiths

Packer, F.

WUson

HiU

Severn

Flutes.

PrindpaIs.^llT, Nicholson and Mr

. Oird.

Mr. Adams

1 Hill, P.-

FHee« ML^iQ flute

. Andre, F. (Windsor) | Latter, W.

Ribas

Durus, 8ve fluti

1 1 . Maiy (Windsor)

•

Obol
PrrndpaU^^Ut. G. Cooke and Mr.

Fkirke.

Mr. Barrett -

Mr. Irwin, G.

Mr.Petn

Btfst

LinifjT. •

Wand

Brewer

Maish (Windsor)

WUtoa

Coggins

Clarionets.

iViiict>a/s^Mr. WiUmsn and Mr.I

*owelL

lir. Bowley

Mr. Eisert (Windsor)

Mr.Owea

Egerton

fiopkios
Bassoons.

Tucfcwdl

Prineipa/t.-^^r, Mackintosh and Mi

.Tully.

Mr. Baker

Mr. Johnson

Mr. Pahner (Windsor)

Beauman

Krone (Windsor)

Snellui^ '

Deaman
Godfrey

Mancor

Waitsig(Wtiidsoi)

Horns.
Prineipalt^^Hi. Piatt and Mr. James Bae.
Mr. Amull (Hull) I Mr. Hopgood I Mr.Roassslol

Hardy, G.( Windsor) Kielbach lUlr, G»

Hardy, H. (Windsor) Rae '

Mr. Disiitt
Harper, E.

Trumpets.

Prindfta/i. — ^Mr. Harper and Mr* Irwin.

I Mr. Harper. J. jun. I Mr. MarfaristtSj Q.

I Haycrah ) WaUisLtno.

THE MUSICAL LIBlRARY.

TRoiiaoiif«

Hr. Hardy and Hr. C.Scbroeder.— Gtiv/0.

Mr. Snrithiet and lir. Smitliies, jan.«»<^/A).

Mr. Bean and Mr. L. Schroeder (Win^r. )—rflwr.

Ml. Albrtcht and Mr. 6«niua (Windaor.)~JRi».

OpBicLxmifl.
Mr. Hnbbard and Mr. Ponder.

SnBFBMTf.

Mr. Andre (Cheltenham) and Mr. Perrf.

SiDB Drum, Drvki, Towsb Druub^
.Mr. Horton Mr.Tattoa Mr. Chxpp

THE SSMI-CHORUS.

Mus Birch
Brown
Cooper
Dickens

Mr. Evans

Jannan, W. (Wind-
sor)

Mr. Brovnsnutli
Dumiet
Gots, J.

Mr. Andrews (Manches-
ter)
Atkins
Batesy E.
Bedford

Cantos.

Miss Foster

Hawes, M. B.
Master Howe (West Ab.)
Mrs. Hnnt

Altos.

Mr. Kinf^, 7.
MoxTey
Psddon (Exeter)

TENORS.

Mr. Elliott, J.

Harris, T. (THndsor)
Nield

Bassvs.

Mr. Blackboome
Bradbury
Clark
French, J. (Windsor)

THE CHORUS.

Master Lewis
Mis. RLoder;

Ptorcy

Wood,0*'

Mr. Hohinson

Salmon (Windssr)
Spencer

Mr. Roberts
Taylor, CL

Mr. Greatotez, R.
Hawes
Leete
WalauBky

Suptrintcndeni^^'ytu J. T. HazBS.

CaHtos.

Miss Addison
Mrs.Allcroft
Miss Allen

Barry, A« (liver-
pool)
Mrs. Barton
3iias Beardmore

BexEeld (Norwich)

BlackweU, B.

Blake

Boden

Boden, R*

Bourke

Brandon

Brandon, I^
Mrs. Brown

Byers
Miss Byers

Childe

Childe, EL '

Connelly

Daekin

Dalton

Beither

Dickenson

Donell

Diane (Naniidi)

DneS

Dunn

Donn, M.
Mrs. Dntton (liveipMa)

East
lElU

Entwistls,S.(Iifiiw

(Uf

Mrs. Goodsoo
Miss Goodwin, G.

Gowaid

Gfiiiy

Miss Hallwood
pod)

Hardy
Mrs. Harris
Miss Harris, A.

Hayward, Q.
Mis. Hiles, M. (Liver-
pool)
Miss Hitchcodfc

Hopkins

Hopkins, L.

Ireland

Jackson

JacksoQ (Livei^ocl)

Jameson

Leach (Cheshnnt)

Leech (Liverpool)
Mn.Linacre, A. (Livw-

pool)
Miss Lmdiey, EmniA

Lindky, E.

Macfarren
Mrs. Mapleson
Miss Minton
Mrs. Newcombe
Miss North
Mrs. Pearce

Penley
Miss PSny
Mrs.Pierotti
Miss Poole

Porter

Proctor (Korwidi)
Mrs. Ridiardson (Lber-

pool)
Miss Roberts

Ro^en
Mrs. Salabert
Miss Savage

Scofldd, H. (Rodi-

dale)

MisiSeymonr

Taylor

Taylor, A* (Fram-
linffham)

Tinney
Mfi.1Vdem«B (Fram-

linfl;ham)
Mrs. Walker

Walker, J.
MissWaUac*
Mrs. Willis
Miss Yates
Masters
Boardnian(St.Ptod's)
Backland(St.Paal's)
Charlton (Chapel Royal)
Chipp (Chapel Royal)
Codto (Chapel Royal)
Coward (West. Abbey)
Cunningham (West Ab.)
Durasford (R. A. Mode)
Genge (Chapel Royal)
Griffiths (St. Paul's)
HarrisrWindsor)
Hill (West. Abbey)
Hopluoa (St Paul's)
Hopkins, J. (West. Ab.)
Howse (West Abbey)

Mr. AOsidjTM

Baker, W. (BizilliD|^*
ham)

Ball, EU (Liveipool)

Beale
' Buttifant (Norwich)

Clare (Norwich)

Coad

Corsbie (Norwich)
; Dutton, W. (Liver-
pool)

Eames

BdmondsoOyN. (Ar-
magh)

Farmer, J, (Notting-
ham)

Fenn (Norwich)

Fletcher (Chichester)

Fouldes^ T. (Notting-
ham)

Garbett, J. (Armagh)

Giffin

Greene, C (Norwich)

Greene, W. (Norwich)

Hartley, J. (Liver-
pool)

Mr. Allcroft

Ashworth, J. (Roch-
dale)
AspuU, W. (Notting-

Barker, J. (York)
Best, R. (Binning

ham)
Birt

Browne, G. (Yarm.)
Brown, T. (Durham)
Burr,J.(WeUs)
Burnett

Caird, W. (Liverpool)
Cartledge. J. (Man-
chester)
Caunter,J.S.(Wells)
Cole, C. (Exeter)
Cooper, S. (Manches-

Gear

Gunton, F. (Norwich)
Gunton,T. (Norwich)
Hareourt (Norwich)

Mr. Andrews, J. (Liver-

Ashton,

Makepeace (St Paul's)

Pendegrass (Chap. Royal)

Pullen (Windsor)

Ransford(ChapeI Royal)

Sestoa (Windsor)

Smith (Chapel Royal)

Smith, R.

Squires (Chapel Royal)

Tsyior

Webber (Windsor)

Wilson

Woodham(StPMrs)

hton,A.T.(Wells)

Ashton (Liverpool)

Atkins, J.

Baker, G. (Notting-
ham)

Baldwin

Barclay

Bennett, J. (Lich-
field)

Berry (Norwich)

Bird, G. (Birming-
ham)

BlundeU, T. (Liver-
pool)

Blyth (Norwich)

Branston (Leicester)

Butler

Camding (Norwidi)

Caulfield

Clouting, J. (Eye)

Coesens, J. (Bristol)

Creed ^Norwich)

Croft, A.

Cupper (Norwich)

Dobson (Canterbury)

Edwards

Edwards (Bath)

£11^ T. (York)

Essex

Galti

Greaves

Green, J.

Green, W.

AlT(NU
Mr.Hayden,H. (CofW'

SoSbs (Windsor)
Holden, G. (Lirer-

Hi2u.(

1. (Norwich)
Ingram, W. (Wind-

sor)
Jenks
Jones, M.
Kay, P. (York)
Knowles, T. (Lincoln)
Laidlaw, J. (Liver-
pool) ^
Lewis, T.
Lewis, J. R.
Ling, H. (Camb,)
Ling, J. (Wells)
Mann (Norwidi)
Millar

Mozon, J. (Wake-
field)
Paget, G. (Leicester)
Perrior,J.(Wells)
Pyne,G.
Rakes

TnifOBS.

Mr. Harris, G.F.

Hart, J. (Hastings)

Henry

Hill (Norwich)

Holden, T. (Liver-

HoUins, G. (Birm.)

Humphreyes

Jones, T.

Jones, J.

Jones, W.

Lane (Norwidi)

Maddock, T. (LiviF-

Mdone, T. (Manches-
ter)

Mathews, T. (Wake-
field)

M*Cuae^ J. (Axmagh)

Medcalfe, R. (Livers
pool)

Michelmore, H.R.

Nichols, W. H.

Bassu.

Mr. Grindrod (Rochdale)

Grundy, S. (Kirkby
Lonsdale)

Hadley,A. D. (Livei^
pool)

Hargett (Wakafield)

Hawes, jun.

Holmes

HuUah

Hurlock

Ingham, R. (Caxlisle)

Jackson, J. (Went-
worth)

Jones, BL

Kempton (Csmb.)

Xing, D. W.

Knowles, T. (Wake-
fidd)

LaidUw, W. (Liver-
pool)

Lee, J. (Armagh)

Le Jeune, G«

Linton

Lucas

Macfarren

Machin, J.(Bimiing-
hsm)

Martin, T. (Wells)
Msjcfield, H. (Not.

tingham)
Mayimrd
Maybrick, jun. (Li*

veiped)
McCarthy

I Mr. Sexton (Norwich)

Simpson, W.(Leic)

Smart, H. (Black-
bum)

Smith, T.

Spark, W. (Exeter)

Stead, A. (Wake-
fidd)

Stmpson, W» (Dur-
ham)

Stott, J. (Liverpool)

Taylor, J.

Taylor, J. (Manches-
ter^

Trip (Norwich)

Waddington, J. (Man-
chester)

Wallis

Walker, J,

WUlis

Waring

Waring, E. (Birm.)

Widdowes, J. (Nor-
wich)

Woodward, C. (Liver-
pool)

Mr. Nobbe (Noi
Ftek

Piper, P. (Cambridge)
Porter (Norwich)
Prestwich, J. (Man-
chester)
Price, W.

RusseU, J. (laveipool)
Salter, P. (Exeter)
Sharp, T. (Netting*

ham)
Smith, J. (Durham)
Stott, E. (liverpool)
Tbtt,S.
Tett,C.
Tomer
Warden, T. (Lekcf?

ter)
Whall (Lincoln)
Wilson, H. (Wake-

fidd)
Wykes^ 8. (Leices-
ter)

Mr. Mitchell (Windsor)
Morris, Cl
Mudie
Novello, F.
Novello, J. A.
Novello, £. P.
OUphant
Pemberton, C. (Liver-

PMts (Liverpod)
Povah,a (Manchflt*

ter)
Pjre (Exeter)
Kansford

Risdon, J. (Exeter)
Scott, G. (Amagh)
Shiivd

8keats(\ruidsgr)
SkdtonrHuU)
Smith, G.
Sonthgate
SpUler

Swan (Norwich)

Tolkien

Toone, R. (Ldcester)

IVimer, T.P. (Exo-

ter)
Watson
Weak

West,W. H.
White
Wilson
Yamnfrtooy (Ner-

SUMMARY.

Conductor ••••«« 1

Prindpd Singers • • • • • 45

Organists •••••• 9

Vidins •••«••« 80

Tenors (Tiolas) • . . • * 32

Vidoncellos •••••• 18

Double Basset • • • , • 18

Flutes ••••••« 10

Oboes •«•«,«« 12

Coned Ofv • SI5

THE MUSICAL LIBRARY.

Brotight oyer • • 225

Clarinefs 8

BMaoons ••.«•. 12

Honu 10

Trumpets 8

Trombones «•••*• 8

Ophieleides • • • • • 2

Serpents •••••• 2

Side Drum «••••• 1

Drums •••••• 1

Tower Drum 1

Cantos 124

Altos «8

Tenors •••••• 64

Bases . • • r • » 100

Total 644

Of this nunljer H is to be observed, that the principal singers, and eight out of
the nine organists, are to be deducted, in calculating the sirength of the combined
band; for the former did not join in the choruses, aod of the latter, of course only
one at a time was employed. This reduces the force employed in the full pieces to
591.

The bases, both Toeal and instrumental, were not sufficiently numerous in the
choniseti, and the power of the Toices generally bore no proportion to that of the in-
strumentH, the latter very much preponderating. This is imputable to the manner
in which the performers were placed. More of the choral band should have been
brought forward, and some of the instrumentalists ought to have been stationed in
tile aisles, or wings, of the orchestra.

Hie organ employed was borrowed of the builder, Mr. Giay, who, by an ingenious
contrivance, enabled the organist to play with his face to the audience, and, conse-
quently, in view of the comluctor, whe was well placed near the front of the orchestra^
la sight of every performer.

THE FIRST PERFORMANCE, TUESDAY, June 24th.

PABT X*

Coronation Anthem, ' Zadock the priest' • • «
Introduction — Chaos. ••••••

Recit. Mr. Bellamy, ^ In the beginning.' • • •
Chorus. < And the Spirit of Ood.' . • • •
Recit. and Air, Mr. Vaughan, * Now vanish.* • •

Chorus. * Despairing, cursing.' • • « •

Recit. Mr. Bellamy, ^ And God made the firmament.* •
Air^ Mi«s Stephens, and Chorus, ' The marvellous work.'
Recit and Air, Mr. Phillips, 'Rolling with foaming billows.'
Redt and Air, Madame Caradori^ ^ With verdure clad.*
Chorus. * Awake the harp.' • . . • •

Recit accompanied, Mr. Braham, < In splendour bright.'
Chorus. < Th% heavens an telling.' • • • •

Haydn's

Recit and Air. Madame Stockhausen. < On, mightv pens.' • ^
I^. Mrs. Bishop, Mr. F. Robinson, and Mr. Phillips, < Most
beautiful appear.' • • , • . • • •

T^ and Chorus. ' The Lord is mat.' , • • •
Reeit. and Air. Mr. Seguin. * iSow heaven in fullest glory.' •
Do. Mr. Sapio. ' In native worth.' • • •

Chorus. ' Achieved is the glorious work.' • • • •
Duet Mrs. Bishop and Mr. £. Taylor. 'By thee with bliss.'

Chorus. * For ever blessed.* •

Dtet. Mrs. W. Knyvett and Mr. Phillips. < Graceful consort.'
Choras. < Ftaise the Lord.' ••••••

Hatdn's
Creaikm.

From

HANl»SL'a

OvSItTURX. • • •

Redt. Mr.Vaughan. ' This d^r a Mlemn feast.' • «

Choraa. ' Awake the trumpet's lofty wund.' • • • •
Recit aod Air. Mr. Braham. < Total eclipse ! ' • • •

Chorus. < O first created beam 1 *

Recit Miss Turner. ^ No words of peace.* •

Rddt. Messrs. Philtipi and Hobbs. *I come not»' and 'lliis

way to know.' • • •

Air. Mr. Phillips. ' Honour and aims.* • • • •
Beat * Here lies the proof.' «.••••

Choms. ^ Fix'd in his everlasting seat.' • • • «
Redt Min C. Novello. ^ The body eomes.' • •

Do. Mr. Sale. * There shall all Israel's valiant youth resort.'
Tlia FuMBEAL (or Dead) March. • . • • *

Air. Miss Stephens. ' Lei the bright seraphim.' • •

Chorus. * Let their celestial concerts all unite.' • • • /

Very shortly after the doors were opened, the unappropriated
places were filled, and before eleven most of the reserved seats
found occupants. By half-past eleven, the whole of the com-
pany, except some dozen or two, had assembled, the performers
liad all taken their stations, the operation of tuning was over,
and everjrthing was in readiness to receive the royal party, which
entered at a quarter past twelve, consisting of the lung and
Queen, the Duchess of Kent, the Princess Yictoriay and the
Duke and Duchess of Gloucester, who all came in state,
attended by the Duke of Devonshire, as Lord Chamberlain, the
Master of Ihe Horse, slid oth,er persons, male and female, of
the royal household, and were met at the entrance into the
church by the Directors, in their militaiy uniforms, and wearing
thm respective orders. The scene was certainly imposing : the
Tenerable chaiaeter of the building, and all the associations it

called forth ; the symmetrical appearance of the vast orchestra^
part rising to the very roof, and disappearing amon^ the arches;
the presence of nearly three thousand persons, chiefly of the
upper class, including many of the most distinguished personages
of the age ; and, above alt, a greater proportion of female beauty
than we have ever seen assembled under one roof since the
coronation of the late King,-— all united to excite feelings at once
elevated and gratifying, and well disposed the mind to enjoy
the intellectual and rarely-occurring pleasures that followed.

The Commemoration of Handel in 1784 began with ' Zadock
the priest,' a courtly compliment to royal authority, and the
precedent was now followed. Whatever may be thought of the
unfitness of this composition for displaying the power of a grand
orchestra,— -and opinions are divided on the question — ^it is ad-*
mitted that it much diminished the effect which the opening of
the Creation miffht have produced. To those who reason on the
subject, it will be obvious that nothing should inunediately pre-
cede the RepresenUUian of Chaos : whatever comes before it, unless
a considerable interval of time be allowed between, proves inju-
rious. This was evinced on the present occasion. All to whom
musical description is intelligible, felt that the introduction to
Haydn's oratorio, though it was most accurately performed, made
not even the usual impression; while eve^ one reasonably ex-
pected that, executed by such a band, its effect would be greater^,
not less, certainly, than ordinary. But the rejoicings, the shouts
of a multitude, the clangor of instruments,-— in short, the ideas
excited by a coronation anthem, are so opposed to the prevalent
notion of the state of things at the beginning, when * the earth
was without form, and void/ that the mind cannot at once adapt
itself to so violent, so unnatural a change ; it is unwillingly led
back to chaotic darkness and confusion, to rudiB indigestaqiLe
moles, for no other purpose than to be restored to the light and
order, to that

— — " beauteous world

Where all that live, if so mankind would will,

Might happy be, and rarely know an ill/'—

of which it need not have been deprived.

Mr. Bdlamy delivered the first recitative firmly and well, and
in the succeeding chorus the voices and instruments were nicely
subdued : but when the great break-forth, at the words ' and
there was light,' took place, disappointment was marked in all
the countenances about us ; the drugget drank up ha|f the sound I

Mr. Vaughan, in the air, * Now vanish,' was more audible and
animated than we expected. On coming to that fine part where
the key chan2;es to the minor, his effort surprised us. The chorus
' Despairing, though correct, was tame : confidence seemed to
be wanting. But nothing could be better than ' A new created
world.'

When Miss Stephens rose to sing ' The marvellous work,* we
felt no little anxiety, she having lately been much out of prac-
tice; but though at first she was somewhat nervous, ana her
sweet voice, by a few faltering notes, betrayed her feelincs, she
altogether succeeded well. The simple and melodious cnorus>
' Again the ethereal vaults resound,' though executed with great
precision, was too powerful for the single voice which it accom-
panied : or, rather, the voice was unequsd to the chorus.

Mr. H. Phillips gives a character to whatever he undertakes.
In his hands the song, ' Rolling with foaming billows,' acquired
a strength which does not seem naturally to belong to it, though
well calculated for the situation in which it is placed.

Nothing could be more correct than Madame Caradori's air,.
'With verdure clad;' her articulation was exemplary, and her
intonation perfect Her voice, too, proved nothing deficient in
power. Still there is a want of fulness, a too great juvenility
in it, if we may use the expression, that does not so well fit it for
oratorio music as the admirers of so able and accomplished a
performer could wish.

' In splendour bright,' is <Hie of those things which only Mr«
Braham can sing. It is a fine musical jpicture, and this per-
former knows how to place it in the most utvourable light, llie
chorus that follows, * The heavens are tiling,' — the finest choral
effoK of Haydn, both as regards design ami working out — was
begun rather too slow, but well ]performed« The exactness and
bokl spirit with which all the points were given, and the out
pouring of the voices in the winding-up,— that splendid climax-
are deserving of every praise.

Madame Stockhausen comnienced the second part with an air
that never affords us any kind of satisfaction, — * On, mighty

THE MUSICAL LIBRARY.

pens.'* It was, however, very well sung, the graces appropriate,
and executed with great neatness, though rather too numerous.'
Tliis lady's voice, which we feared would want power for the
space, betrsnred no deficiency in strength. -

Mr. Philiip6,in the brief but expressive air, ' Be ftuitiul and
multiply,' gave another proof of superior taste. The lovely
tensetto, ' How beautiful appear,' had no charms for us on this
occasion but those which m^nory supplied. It was too quick,
and the vocal p4rty sung as if they had never before met. The
tenor, too» was, we presume, f(H*ced into this situation. The part
should have been assigned to Mr. Hobbs.

In the grand recitative; ' And God said,' and the air, ' Now
heaven in fullest glory shone/ Mr. £. Seguin displayed powers
which very few Imew that he possessed. In his recitative he
was animated as well as most comm^idably articulate ; and in the
song, which requires ^eat spirit in some parte, and delicate taste
in others, he was fuUy equal to the variety of style which the
singer must command who does the composer justice.

Not less entitled to praise is Mr. Sapio for his performance of
^ In native worth.' The ability he now showed, leads us to ask
why, during the whole festival, he was only employed on this
one occasion ? He and the public have an equal right to put this
question, for several things in which he would have proved «nu-
nently useful, were given to less capable persons.

On the chorus, ' Achieved is the glorious work,' we set little
value ; but the beautiful trio which divides it, ' On thee each living
soul awaits/ deserved a better fate. Miss Clara Novello did it
every possible justice, but Mr. Vaughan was rather too weak,
and Mr. W. Robinson — ^whose name is unknown to us — was, we
are willing to believe, frightened out of his powers.

The instrumentel opening of the third part, a Largo in b,
which introduces the recitetive, ' In rosy mantle,' was hardly
audible to those in the middle of the nave. The flutes ought to
have been doubled ; for so sweet a morsel, and so seldom pro*-
duced, should not have been all but lost, at least to many. In
the recitative, the very musical voice of Mr. Hobbs was in unison
(we use the word figuratively) with the opening.

The charming duet, ' By thee with bliss,' and the solo parts of
still greater beauty, were sung in a very chaste manner by Mrs.
Bishop and Mr, E. Taylor. In the intervening choruses, the
organ pedals, not answering immediately to the touch of the per-
former, produced a confusion of which he was unaware, and for
which be can hardly be held responsible. We may here
mention, that upon several occasions, these pedal pipes were
inefiective, and sometimes mischievous, owing to their slow-
ness in rendering the sound. Had one, or at the utmost
two, filled the post of organist for all the days, this evil might
have been avoided. It would have been easy thus to learn, by
experience, how to manage these tardy instruments. Such a
plurality of performers on the organ was a measure, the inutility
of which struck all but those who suggested or had the power to
prevent it One for ancient, and one for modern music, would have
answered every rational purpose. The dual number was the
utmost prescribed by common sense.

. The duet, * Graceful consort,' produced no effect ; part of it is
heavy, part silly, and the whole tedious, comine when attention
begins to be exhausted. And the final chorus, ' rraise the Lord,'
is really an 'impotent conclusion/

The Creation is an unequal work. The first part shines in all
the splendour of Haydn's genius ; but it is evident that the com-
poser has here almost exhausted himself by the greatness of his
efforts. In the second, his fire is not quite burnt out, and some
of his invention remains, as is witnessed in the terzetto, and in
the airs, ' Now heaven/ and ' In native worth.' But in the third,
Duly the duet, &c., beginning ' By thee with bliss,* bears the
impress of the composer.* The few bars of instrumental music
at the opening are most graceful, but this is their greatest praise.
The natwe of the subject has in a ereat measure led to this.
After the creation of the firmament, the sublime, poetically and
musically speaking, ceases. The second part, as it concerns the
composer, only describes what is great. And the third, which
Hiay be called domestic, is a representation of connubial happi-
ness, of perfect contentment, and pious gratitude. Thus, so far

. * We cuBOt Mp adding a note to say, Uiai Um printer ha% in the poof sheet,
foft a qnery against the word ' pens.' He may well suppose it an orersight of the
writer. But bow will he stare, on reading this, to learn tnat the above is only one of
many absdrdilies in the Bnglish rersion that were suffered to go before such an
Msembly^— Kprroa.

as relates to musical effect— that is, the grandeur of it — the
musician may be said to have had an anti-dimax to work on.
Nevertheless, in the last chorus, he ought to have put forth more
strength. He appears to have been in haste to complete his
work, and not to have allowed himself time to end it in the
miffhty manner in which it commences.

We did expect, on such an occasion, — the whole court, the
bench of bishops, nay, many of the first literary characters of the
age, forming part of the audience, — that the English version of
tms oratorio would have undergone ifurther revision.. Some of
the alterations made from time to time were adopted, but much
remained that is ludicrous and vulgar. It is discreditable to the
taste of a nation to listen to anything so stupid, so monstrous.
The directors probably relied on a musical committee for the
correction of all this. If so, let them next hope to gather grapes
from brambles.

The selection from Samson exhibited as little taste as judg-
ment. The overture is not one of HandeFs grandest works, and
was begun much too slow. The chorus of the priests of Dagon,
ihefiikified god, the 'sea-idol,' as Milton calls him, of the Phi-
listines, is characteristic as part of the drama, but detached is
not only trivial, but far from decent in a Christian church. What
will be said of such a chorus by those who consider the perform-!
ance even of the Messiah a desecration of a holv place? Why
have furnished the opponents of what is conducive rather than
injurious to the great ends of religion, with a subject of re-
proach against which no sort of defence can be set up r

The air, ' Total eclipse ! '—sung in a manner that would have
brought tears into the sightless eyes of the great, the afflicted
composer— 'was welcomed by the breathless sHence of thousands
of admiring auditors. This, of course, was followed by the fine
chorus, 'O first-created beam!' the introduction of which on
the day that the Creation was performed we, in our last, objected
to, and assigned a reason. Our opinion remains the same.

' Honour and arms,' Uke the before-named chorus, is exactly
what it should be, dramatically considered: a less fortunate
choice could not have been made for the present occasion, than
of this long,'^blustering piece x>f gasconade, in which a singer de-
lights, because it shows off the strength and flexibility of his voice.

The recitative, 'Here lies the proof,' led us to expect the
chorus, ' Then shall they know,' which alone should follow*
Instead of this entered * fix'd in his everlasting seat,' a splendid
composition, certainly, and necessarily comprised in any selection
from the oratorio, but totally inapposite to the recitative. It was
admirably performed.

A great leap was now made to the obsequies of Samson, whose
death might as well have been' intimated in a single line 0(
recitative : but anything like connection, though easily preserved^
seems to have been thought unnecessary. Miss C. Novello sanjg
* The body. comes' with great firmness and feeling. Then foi*
lowed the funeral march, not the ' Dead March,' as designated
in the books, the latter being quite a different thing. The former
was originally written for Sault and afterwards used, by the
composer himself, in ^am^on. It now produced less effect than
we expected ; the bassoon was rather out of tune, and there was
a feebleness in the whole that excited some surprise.

We much w^sh t)iat fhe vjery backnied song, ' Let the bright
serajphim,' had formed no part of the selection. Miss Stephens
having taken cold, could give hardly strength enough to it; and
the long concerted cadence, coming, too, after an air which is
bravura from beginning to end, can only be mentioned in terms
of reprobation*

The whole ended with ' Let their celestial concerts all unite/
a clever and popular chorus ; but, though accurately performed^
produced little sensation. ' Fix'd in his everlasting seat,' should
imdoubtedly have been reserved for the conclusion ; and where
this was placed, the extremely fine invocation, ' Hear 1 Jacob's
God !' — a chorus the rejection of which is unaccountable-^might
have been introduced.

SECOND FERFORMANCE, THUBSDAT, June 26tlL

PABTb

Coitmatum Antbrai. 'The King tball rejoice.* • • • • HixiMtJ
Afia,SignoYRiibiiii. 'Ate, IHltuitialBuiBi.* (Dtnide Pemitmie,) • Moiast«

Chomib 'GHoiy toGod.' •Id

Solo. Mr. Vau^ian,' Holy and mvcifiil Father.' • •la

Qixaitet Milt C. NoveUo, Miie H. Cewse, Mr. tTav^hAn, and >*2 Bamornr*

Mr. B.lMer,*0 Lord, have neRjr • • •
Chflcue. 'QMiMffuL* . • • • • « •

TIIE MUSICAL LIBRARY.

■y

Hatdr.

BaeitudAir. 'Angvberer bight and fkis.' (rksdbrw.)
ClionM. 'KyrieKtouon.' ......

Bolo. Sigiior ZuelwUiy ' qxu ioUii.'

Ghorai. ^EtTitom/ • , ^q,

Itocit and Air. Mr. H. PhiUioi, * TIm toaret of dcatb.' 8n Joan SrarsirMir.
BedtandAir. Miia Batta, < O who can telL' (JoMkum.) • • HinmL.
Solow M& Braham, and diofut, ' Luther's Hymn.'
Air. Madamoiaelk Griai,'^ Quoniam tu tolus/ from hia $th Ifan. - « Hatsm*

Chomi. ^Gredo.'

Qnaztet Madame Stpckhapien, Mr. Hawkina, ftgnor RuUni,

andMr.Sale, <Xtincaniatiisaflt' • • • •

Chorua. 'Etiatonaxit*

Solo. Madame StockhaoMniy'A^iia Dei!'
QiunM and Ghonis* < Dona nobw pacem.'

MOBART

II.

Becit. Mr. F. RobinsoD, ' Now there arose.'
Solo. Mr. Hawkins, 1

ChoTos; ' And the children of Israel fiehed.' •

IRcdt. Mr. Vaughko, *'!then sent he Moiea.' •

Chorus* *Th^Toaihed to drink.' . •

Becit.' Bfitis Hasson, and-^— • • * 1

Air, < Their knd brought forth frogs.' f

Bedt and Air. Misa Romer, * All human power.'

Becit, Mr. Robinson, < The plague now cMed.'

Chorus* < He spake the word.' • • •

Bedt Mr. Vaughan, <YetPharoah.' ' •

Chorus. ' He gave them hailstones.* • •

Do. 'He sent a (hick darkness.' •

Bedt Miss C. Norello, < Hdl, holy light'

Chorus. < He smote all the first-bom.'

Bo. < But as for his people.' . ' . .

Bedt. Mr. Vaughan, < Thus with a mighty hand.'

Chonii. * He rebuked the Ried Sea.'

Do. ,* He led them through the deep.' .

00. * But the waters overwhelmed their

Bedt Mr. Bellamy, and— )

Air, * Wave from wave.' J

Choroi. « And Israel saw that great work.' • ^ •

PART. UT.

Duet. Miss Romer and Miss Woodyatt, < The Lord ismy sbrength.'

Chorus. < He is my God.' . '

Duet. Mr. Phillips and Mr. Machin, <The Lord is a man of war.'
Chorua. * The depths hare covered them.' • . • •
Bo. <Thy right haad,0 Lord.* ....

00. ^Andin the grtfatnesft.' * . • • , •

00. «And With the blabt* * . . • «*

Air. Mrs. Knyvett, < Thou didst bk)w.* • • « .
Chorus. < Who is like thee?' . * .

Bo. 'The people shall hear.'

Air. Miss H. Cawse, ^ Thou shalt bring them to.' • «
Chonub *Tha Lord shall reign.' ...«»,

)

Handbl.

Handel composed four anthems for the coronation of George II.,
♦ Zadock the priest' being one. Another, 'The king shall rejoice,*
was chosen for the commencement of this day's performance.
The opening is grand, for every instrument at the composer's
conmiand is put into requisition. It is remarkable for having
three distinct vioUn parts, and as many for the trumpets. The

Smphony is long, one of the besetting sins of HandeFs day, and
e words are too often repeated, but there is a briskness in it
that compensates for the defects. The second movement, ' Ex-
ceeding glad shall he be/ is the most pleasing, though brevity is
not its fault. This was committed to the semi- chorus, who
executed it charmingly. In the * Halelujah,' the last chorus of
the anthem, the trebles were weak ; but nothing could exceed
the correctness of the whole.

The aria from Mozart's oratorio, Davide Pmiiente, was
performed for the first time in this country. It is melodious, and
there are other good points in it ; but Signor Rubini's alternate
bursts and whisperings, the last positively inaudible at any
distance, did not afford it the best chance of being admiredf.
We will nevertheless do him the justice to say, that in his mercy
he dealt out none of his usual roulades.

. The selection from Beethoven's Mass was, on the whole, well
made. The first chorus, the Gloria, has nothing in it that par-
ticularly marks the author. Tlie solo is insipid; but the quartet,
a most imploring strain, in the minor key, and pianissimo all
through, is truly excellent. . At the end of this a tremendous
bang of the great drum, the meaning of which we do not under-
stand, introduces a splendid chorus, to which, and indeed to the
whole, Mr. Gardiner has adapted English words. • The fugue at
*\ will exalt his name,' is paost masterly » and the 'Amen' mag-
luficent. Every part was performed a merveUle.

MisB Stephens sang * Angels ever bright' most sweetly, and
ended it with a modest cadence. The air ought to be reserved
exclusively for her ; she seems the very Theodora that the poet
drew ; who was not, it is ne^ssary to add, either of the historical
Theodoras.

We rejoiced at having the selection firom Haydn's second

Mass in the original language. The Kyrie, makincf due allow-
ance for the levity of the latter part, is very j^astng. Signor
Zuchdili sang the solenm and fine air charmingly, and his com«*
panion on the bassoon, Mr. Mackintosh, accompanied him with
great delicacy. But how egregious a blunder not, in some
way, to have mtroduced the words Agnu8 Dei, without which the
whole is unintelligible — ^is downright nonsense I Had the sub-
committee no kind friend to aid them on such an occasion ? The
chorus, ' Et vitam,^ made a superb finish to this selection.

Who could have recommended Sir John Stevenson's air?
Devotional it is, and Mr. Phillips gave his best support to it; but
what claim has it to originality? What is its merit? What
right had it her6? How much better to have given instead
somethbg from the old English school of church music !

The song from Joshua, '01 who can tell,' is a sweet melody,
and the accompaniments (delightfully played by Messes. Weichsel
and Lindley) are as pleasing as clever. Miss Betts got through.
it extremely well, till the close, when a very indifferent shake>
prefaced in the old-&shioned English style, weakened the 'ua-^
pression that had been made.

Luther's Hymn was ushered in by a long diapason piece,
extemporaneous we presume, not bein^ mentioned in the books,
and a less appropriate introduction can hardly be imagined. The
singer tells us that he hears the last trumpet, that he sees the
destruction of all created things ! — while he has only listened torn
voluntary so soft, so gentle, that Cythersea herself might have
entered to it, without the fear of alarming her doves ! Mr. Braham
sang this with undiminished energy and power, Mr. Harper
accompanying him with his usual silvery, beautiful sounds. 'Die
effect of the chorus was great indeed.

Of Mademoiselle Grisi's performance we reluctantly speak :
torn out of her sphere, and brought forward to sing a wretcnedly
bad air, written in the old bravura style, she was rather to be
pitied than blamed. Her strained voice was so harsh, and her
shakes so abominably violent, that really her performance would
have made a much more fit introduction to the hymn of the great
reformer, than the organist's efiusion proved.

The Credo, (i. e. the Nicene creed) Irom Mozart's first Mas^
opens in a way well calculated to display the powers of- so fine a
choral band ; it is, however, very deficient in brass instruments ;
and till the lovely quartet, ' Et incarnatus,' comes, the genius of
the great composer is not conspicuous. The points at ' Et in
spiritum,' and in the ^ Amen,' were most promptly and effectually
taken up. The quartet and chorus, ' Dona nobis pacem,' would
make a beautifiil opera finale; few things could have been less
fit for an English church.

We now arrive at Handel's grand choral work, his lerad in
Egypt, in which his supremacy in the most dignified branch of
the art is so manifest, that no .one has ever yet been set up as hia
competitor. The only defect of this wonderful effort of genius is,
that it throws every thing of the kind by other composers into
shade, and lessens the pleasure otherwise derivable from produc*
tions of great positive merit After such an oratorio, all cnoruses
but Handel's seem vapid, till time has weakened the impression
his leave; and both justice and good policy demand that a long
interval should be allowed to elapse between the hearing of so
matchless a work, and anything of the same high class, from the
pen of any other master, ancient or modem.

Israel in Egypt was composed iu 1738, and, strangle as it may
seem, the title and date are all that is mentioned of it by Handel's
biographer, Mainwaring, or by either of the musical historians.
It probably produced at first little effect, with. the small number
of musicians that could be collected in the composer's day,
for it can only be heard to fair advantage when performed by
large masses. Hence it was scarcely known till the year
1786, when the Abbey resounded with its harmony, and all
England with its praise. It was then given in strict conformity to
the original score. But in the Lent of. the same year it had been
brought forward by the Directors of the Ancient Concerts, as one
of six oratorios performed in the Tottenham-street Rooms, when
much was added, with a view to relief, by throwing in pieces
between the choruses. This scheme entirely failed in the
operation ; and at the Abbey in the June following, the oratorio
was produced without a single interpolation, and with such
decided success, that it was repeated every subsequent year.

Whoever prepared this oratorio for the present occasion had^
most likely, seen the additions we allude to, and unfortunately

THE MUSICAL LIBRARY.

adopted some of them^ ejecting a loTely duet, 'Thou in thy
«iercy>* half of which, tranaposed into a nunoTj ahoiihl have heea
au£md to remain where the composer placed it, interposed
lietween the choruses, 'Who is like thee?* and 'The people shaU
hear/ which have no connection whatever with each other. We
have likewise to regret the omissicm of * Esypt was glad/ a fine
4^rus» which it would have been creditable to reinstate. Bat
Ae selections too often betray a want of vigour, and the absence
of 'an elevated mind. However, the abiBty and spirit of the
great body of the performers, both vocal and instrumental, atoned,
80 far as th^ were concerned, for the deficiencies ; the full pieces
in this mighty work were executed with a feeling, as well as a
correctness, as near perfection as possible.

The first chorus — ^which might with propriety be catted the
chorus of tighs — ^was rather too quick. The composer's direction
is Largo. But we did not detect a single mistake; and the
pianos and fortes, attended to with the utmost care, produced a
most striking effect*. The next, ' They loathed to drink,' formed
out of his fifth organ fugue, and transposed from a minor, a
most diflScult chorus to sing, was faultless. Then came a recita-
tive, of which Handel was not cuilty, followed by the air, ' Their
land brought forth frogs,* well sung by Miss Masson, but too
low for her voice.

One of the interpolations of which we complain, followed ; a
poor affair, very indifferently sung, and wholly unnecessary.
Rdeased from this intrusion, we had every reason to rejoice m
' He spake the word!' The hailstone chorus was performed as if
by magic; and the choral recitative, * He sent a thick darkness,'
a piece requiring the greatest nicety in execution, was without a
blemish. What a power of description, what knowledge of effect,
does this evince! — what amazing harmony! The drums and
trombones — not written in the score — used with great delicacy,
proved a most important addition ; they aufirnented the ^loom
that pervaded the whole scene, strengthening tne rapt mind m the
belief that 'darkness' may be heard as well as ' felt.*

After another stranger to the work, — a recitative, not ill placed
but too long, though well delivered by Miss C. Novello— came the
chorus 'He smote all the first-bom,' in a minor, and its gentle and
melodious second part, ' But as for his people,' in o minor, (uncon-
nected keys, which the composer has so ingeniously made to agree,)
and again displayed the skill of the performers. The organ here,
and indeed throughout the whole oratorio, was of the utmost
utility, and the pedals especially were made to act most powerfully.

We have exhausted epithets in describing the excellence of this
work and its performance, and must procera more quickly. 'He
rebuked the Ked Sea,' and the two following choruses — great tests
of orchestral ability — ^went off as well as the preoeding^. After
these, ' Wave from Wave,* or ' Sorge infausia,' from Handel's
opera, Orlando, one of the best introductions made in 1786, was
cnarmingly sung by Mr. Phillips. The chorus ' And Israel saw,*
ended the act, not quite brilliantly.

The third part began with a beautiful duet, but owing to over-
quickness in time, and singing not of the best kind, it fell a
sacrifice. The next chorus was again every thing that could be
wished. ' The Lord is a man of war,' never was better sung, if
80 well. Mr. Phillips and Mr. Machin entitled themselves to
every praise by their judicious performance of this. There were
some doubts on commencing 'The depths have covered them,'
but these were soon dissipated, and the arduous task which ' Thy
right hand, O Lord,' imposes on the performers, was most ably
accomplished* Giving 'And with the blast of thy nostrils,' as a
aemi-cnorus, answers well. The pedals in the after part were
most useful. We wish that there had been boldness enough to
cut off the last symphony of this ; it is all too much.

Mrs. W. Knyvett sanff the lovely song, 'Thou didst blow,' so well,
that we grievea at her almost neutralizing its effect by a long heavy
icadence. That marvellous chorus, ' The people shall hear/ went
off admirably. Miss H, Cawse then sang the mild and melodious
air 'Thou shalt bring them in,' in a verv simple chaste manner.

We now arrive at the last chorus. 'The Lord shall reign,' the
most popular, except the ' Hailstones,' in the oratorio. In the
recitatives Mr. Braham was as grand as ever. In the soprano
aolo, ' Sing ye to the Lord,' Miss Stephens's cold evidently had
not quitted her; she felt this, and nervousness increased the evil.
' The horse and his rider,' made a glorious finish to the day's
performance*

• Hm W€ffdt of put of this ave left oat ia tho ]>nii«ed book. Whoever bad tlie
«M»of tfaii depaftment dieehaiged the duty ia a maaoer that often betiaja either
gnat negUgence or inabiUty.

THIRD PERFOBMANCE, SATUBDAt; Jane 88th.

QoarM And Choma. . Hyq^, * Lord of heaan.*

Chorua, *0 Father P

Bedt and Air. Mr. Bennet, « O Liberty 1* •
Bed*. Mr. V|tDghe|i,< So wiU'dnjr Father.'
Trio, with double choir. * Diidainnil of darngfuJ
Chan$. ' {lear us, O Locd 1* •

Duet 'Bfisi C. NoveUo, and Miie Wagttaft ' aerer bow we
down. ^••••••«

Becit and Air. Mr..BrBh4iB, * Soondan alarm.' • •

Choma. ' We hear th<^ plea^ng dreadful eall.'. . « «
Recit. and Air. Mr^ Bishop^ ' From mighty Kiage.* • »
Chonig, *Fdlei|isth^foe.' « • .• » • • •
Cboroa. * See the conquering hero eomee/ the aolo parts by Min

Stephens, Mrs. Knyrett, &e. • » • • •
Chorus. ' Sing onto God.' ••#••••

• • *

PA&T XX.

Motet, < Ne pulris et dnis.' ' • • • • • #

Air. MademoiseneGhrisi/LaudateDombQm/ • #

Choms. ' Gloria in ezeelsb.*
Recit. ' Deeper and Deeper.'
Air. ^ Waft her, angels/
Recit. < Te sacred priests.' *
Air. 'Faiewell.' •.
Choms. * Dixit Dominus.' * • ' • ' •
Air. Madame Stockhausen^ ' Jesu Domini.'
Aria. Signer Ivanoffi ^ Panis omnipotentia.'
Recit and Air. Madame Caradori,
' Praise the Redeemer's mercy.' '

Chorus. <Ohaiir -

Trio. Miss Bruce, Mr. Vanghan, Mr. Bellamy^ ' My soul with rage.'
Choma* * Hallelujah ! to the Father.' • • • • .

fabthz.

Anthem. < Behold I bring you gfad tidings/ Messxs. H. FhiDipa^
Goulden, and Vaughan. ••••••••

Recit and Air* Mrs. W. Knyvett, < What though I trace.' (Soiomon.)
Recit and Air. Mr.'Brahlm^ 'Gloiy toGod.' \ rjMya\

bUOCBK^

SaMDSb

I Mr.Bfaham.
Misa Stephens.

}

do.

MoxAsr«

• do,

PaBOOLSA
JEUsDJOm

dm,
» Lm

MOSABV*

• do.

I gBxBTHOTXV*

Choms.

Air. Mr. H. Phillips, * O Lord, have mercy.' •

Sestetto. Mademoiselle Orisi, Madame Stockhansen* Mies C. NotoIIo,

Signors Ivanoffand Tamburini, and Mr.E.Seguiny <Bt incematoa est.*
Solo and quartet Miss Wa^taff,^ Miss Chambers, Signer Tamburini^

and Mr. Bennet, ' Incline
Choms. < From the censeifJ

me.'

PuacMLU
Hakdbl*

do.

PaaaoLBab

HaxMb

Huaab

This performance was far less interesting tlian either of the
foregoing, and though full, the tickets had not been so eagedy
purchased.

Haydn's hymn for the Emperor Francis, with English words
adapted to it*, made the Abbey walls echo again with * Church
and Kin^.'

The oiorus, ^O Father!' beginning with a modestly-uttered
prayer, and ending in a bolder manner with a spirited fugue, was
admirably performed. We cannot say more, and ought not to
say less of ' Hear us^ O Lord V that mighty product of geniu»«^
of 'O ncTer bow me down,* — ^'We hear the pleasing dreadfiii
call,' and ' Fallen is the foe.'

Mr. Bennet, with an uncommonly musical voice, and a style
imitated from good models, stands a fair chance of rising te
eminence, if he will only be convinced that he has yet to reiieli
it. His 'O Liberty!' was given in a pure though not very original
manner. Mr. Lindley's exquisite tones filled every comer of the
Abbey with sweet sounds. Would that he could be persuaded
to shorten his cadences, too long eveiywhere, hardly to be
tolerated in the church.

The duet, 'Oh, never bow me down,' was, if possible, sung im.
too plain a manner ; it was dry, and Miss Novello*s fair cooi*
panion did not all through preserve a pure intonation.

The spirit-stirring energy which Mr. Braham throws into
' Sound an alarm,' reconciles us to what, snatched from its place
in the musical drama, we should listen to unwillingly. His
word of command to the trumpets made the very columns of
stone vibrate, and the burst of instruments that followed was
electrifying. The reply of the chorus, too, 'We hear, — ^we hear
the pleasing dreadful call,^ so characteristic, operated hardly
le^spowerfidly.

The first movement of Mozart^s motet, ' Ne pulvis,' is less
striking than the very elegant semi-chorus and grand ckonia.
The last is extremely fine. Signor Tamburini here pleased ui
exceedingly.

In the air ' Laudate Dominum,* Mademoiselle Giris was
much more herself than on the former occasion. She executed
the difficulties in this with exqiusite neatness, and in that sub*

• Br the lefte John Crosee^ Zity, V3JL of HuU, ameet exeelleat end sw
plished gentleman, whoee ever-aeki?e mind * o'er wionght his tenement of day,' aai
UI his prime he was snatched away, to «qoy, wn truf^ a lifo for which he was dail^
•ad henrl J preparing hiaielC

THE MUSICAL LIBRARY.

dned tone which we always hail with satisractlon. . NeTertheless
ilie did not sing it cob amare; and we must honestly confess^
that the music by no means afforded us that pleasure which many
ftncied they felt^ because the name of Mozart appeared as the
composer.

Mr. Braham^s 'Deeper and deejper still/ is neyer heard with-
out exciting strong emotion^ even in those whose love for music
is not a very ruling pasidon ; but it never seemed to produce so
fowerful an effect as now. The attention involuntarily bestowed
by an, and the tears that moistened hundreds of eyes, spoke a
language not to be nusinterpreted, and were the best tribute
that could be paid to the performance.

We should oe glad if the practice of following this recitative

S' the air» 'Waft her, angels,' were abolished. The learned Dr.
oreU, who wrote for Handel this lyric drama, has, with his
usual discrimination, introduced a chorus — ^that fine one,
•How dark, O Lord, are thy decrees!' immediately after
Jephtha has sighed out, ' I can no more ! ' He well knew that
when an agonized father is exhausted by his feelings, and
anking under them, it would be an error of the grossest kind to
continue him in the scene, and put into his mouth words that
could only be uttered in a state of composure and resignation. Ac-
cordingly the chorus steps in, following the practice of the Greek
theatre, and, after delivering certain moral reflections, the act
ends. Then, when a considerable portion of time is supposed to
have elapsed, and the pious Judge of Israel has recovered Ins
fortitude, he calmly offers up his petition, 'Waft her,' &c. The
finest selection possible from this oratorio would be made by
beginning with me quartet, * O, spare thy daughter 1 ' and going
on to the end of the chorus, ' Theme sublime. This would give
l3ie substance of the stoiy, and the best part of the music.

liOo's chorus for a double choir is certainly of the grandest
lund, and if we mistake not was reinforced by aidded wind instru-
ments, but it wants variety, and light and shade ; the performers
are at the utmodt stretch of their power from first to last

The air, ' Jesu Domine/ from Mozart*s Litany, is one of the
weakest compositions that ever came out of his hands. And the
aria, * Panis omnipotentia,* from another Litany, is no better,
but was very nicely sung by Signer Ivanhoff. Some of the words of
the latter are left out of the book of the performance : and what
did the Right Reverend Bench sav of those that stand ? Never
was a more unequivocal, intrepid declaration of the real presence,
of transubstantiation^ against which protestantism swears eternal
enmity ; a declaration delivered in the churchy in the face of the
head of the church, to the listening prebendaries, dean, bishops,
wdibishops, and half the members of his Majesty's privy council !
Perhaps the sub-committee knew not what they did; but igno'
TonHa legis turn exciuat, is said to the peasant who cannot i^^,
and never hears of a law ; why should it not be pleaded against
Wy excuse that may be offered by the sub-committee ?

It is much to be regretted that instead of the two last, some, at
least, of Mozart's Reqtdem had not been given. Not a note of
this work formed part of any performance, though undeniably,
and beyond all compare, the greatest of his sacred compositions.
It ought, indeed, to have been performed in an entire state. If
also Beethoven's Mass in b flat had been chosen instead of the
eelection from the Mount of Olives, we should have been better

rieaaed : though we could not have spared the last chorus of
this, * Hallelujah ! to the Father,' whicl
feet manner.

Lch was executed in a per*

Poor Purcell ! — ^no&ii^ better of this renowned English master
could be found than ' Behold ! I bring you glad tidings 1 * Did
not the sub-committee know that a Te JDeum and Jubilate of his
are extant?

Mrs. Knyvett's ^ What though I trace,* pleased universally.
The chorus, "Glory to Godl one of Handel's most sublime
works, was admirable. It is much to be wished, however, that
at the repeat it were shortened.

Mr. H. Hnllijps sang Pergolesfs most pathetic air, * O Lord,
hare mercy i ' with the deep devotional feeling, and in the pure
musical taste that he always exhibits in this fine oomposition.

The sestetto fit>m Haydn's first mass, was perrormed in a
manner equal to its undoubted merit; and in the solo that fol-
lowed, from a motet by Himmel, Signer Tamburini greatly dift-
tingnished himself. A short prelude to this on the organ pro-
duced little if any effect

The grand double chorus from Handd*8 Sohmmh ' From the
censer/ made a good conclusion to this selection.

FOURTH FERFOBMANCE, TUESDAT, July lat.
THE MESSIAH.

This oratorio was performed at the particular dosire of the
Queen. But if her Majesty had not issued her commands, it-
must, we presume, have been given : in celebrating such a £»ti-«
val. The Messiah could not prudentl}^ have been omitted. It:
was, as a matter of course, performed, with the additional aooom*.
paniments of Mozart, without which it will never again be
listened to ; and we may say that, as a whole, it never was. heard*
to greater advantage, — always excepting the influence of the
drugget — and never afforded more general satisfaction.

The overture dragged at the beginning; it was too slow; buik
the fugue was very accurately performed. Mr. BraluuB, in the
opening, ' G)mfort ye, my people,' seemed, in the first bar or two»;
not to be in full possession of tus voice; but he speedily recovered
it, and all the rest was in his best, his intellectual manner;
thougfh we wish he had departed from custom, and ended without
a. cadence.

In the recitative, ' Thus saith the Lord,' and air, * But who
may abide,' Mr. Machin's rapid advance as a singer was very.
clearly demonstrated. The counter-tenor air, * O thou that,
tellest,' and its recitative, was a failure. Not so * For behold*'
and ' The people that walked in darkness,' both of which were.
perfect And the force ^ven to this by Mozart's addition! »
increases its already high value.

^ For unto us a child is bom,' was performed with a precisdoit
that cannot be surpassed. But to begin this piano, and thus to
continue to the word ' wonderful ! ' is, we submit, a palpable mis-
take, and ought not to be heedlesdy drawn into a precedent*-
The joy is, that ' a Saviour is bom,' — a joy not to be proclaimed in
a whisper, not to be spoken of aside, but to be announced in the
manner sthat all ' good tidings^ are, — ^with a v<Hce Ufted up wUh
strengihf'-^without fear. That it is a prophecy is true, but the
advent it predicts is not meant as a secret, — it is intended that all
the world shall hear of it. The words * wonderful," ' counsellor,*
are mere names, to be distinctly enunciated, no doubt, as Handel
intended ; but is there any comparison between the joy at the birth
of a child ^the deliverer of mankind ! — and the pleasure felt on hia
receiving an appellation ? We may be told something about mu-
sical effect. We are ready to meet the defence on even this
ground. But is sense to be sacrificed to sound ? The genius of the
Dunciad answers in the affirmative : nevertheless^ win the public,
in nearly the middle of the nineteenth century, confirm the
decision?

The pastoral symphony, the violins with their mutes on, was
soothing and delicious. Mrs. Knyvett delivered the recitative^
' There were shepherds/ very emphatically and well. Madame
Caradori took ' Rejoice greatly' rather too quick, but executed
the many divisions with extraordinary neatness. Miss Masson'a
' He shall feed his flock,' could not have been better ; ' Come unto
me,' was heard to disadvantage after it : the up-and-down, taste-
less cadence at the end of this last, will, let us hope, assist in con-
vincing the musical world that all such appendages should be
voluntarily abandoned ; if not, they ought to be pnmibited by the
public.

The fine succession of chomses with which the second part of
the oratorio commences, were prodigiously effective. In ' Thy
rebuke,' Mr. Vaughan was deficient only in physical power : but
his taking a B instead of the d, in the fourth bar from tne end, waa
ill ju^ed. Miss Shirreff delivered ' He was cut off,' remarkably
well, and was all that could be wisbed in the air that follows, till
she reached the end, when a cadence, a very bad one, effaced the
pleasure she had given. Nevertheless, we would ask why this
young lady, who possesses a rich, charming voice, and whose
intonation is perfect — ^why she was not more frequently employed^
while many inferior to her had parts allotted to them ?

The semi-choms in ' Lift up your heads,' wanted strength and
courage, but when the full orchestra joined^ the effect was excellent.
Miss Clara Novello did not succeed so well as usual in the lovely
air ' How beautiful! ' In the quartet, and also in the chorus;,
' Their sound is eone out^' the performers, most of them, insisted
on pronouncing the article the za it it were the pronoun thee. We
have frequently before noticed this error, which conductors should
long ago have corrected. Mr. Phillips sang ' Why do the nations/
most nobly; but his cadences, if cadences we must have, ou^ht
to be im me epithet ' Tain,' not on the article ' a.' The adjective
is the emphatie word.
The Hallelujah chorus was magnificent I

THE MUSICAL LIBRARY.

The gentle air, ' I know that my Redeemer liveth/ full of
religious hope, and written with the truest musical feeling, was
most delicately sung by Miss Stephens : she wanted but a little
more power. In fact, she was labouring under a cold during the
whole of the Fegtival.

Mr. Bellamy, in * The trumpet shall sound,* left us in no doubt
as to the vocal power he still possesses. Some of the turns he in-
troduced might have been spared. Harper's trumpet accom-
paniment was, as it always is, perfect. The less said of the duet,
« O Death ! ' the better.

* Worthy is the Lamb' terminated the Festival in a most
splendid manner.

The general character of these performances may be given in
few words. Their great excellence consisted in the correctness,
the vigour, the delicacy, and the feeling, with which the choruses
were performed. On this point all seem to agree in opinion.
Some very able judges have dedared that the effsct was greater in
York Minster nine years ago, which is by no means unukely, for
there the sound had not to contend with, and finally to be half
absorbed by, such bales of cloth as were arrayed against it on
this occasion. At York, too, it is urged, great numbers of the
chorus-singers of the county, and of Lancashire**the best in
England — ^were engaged : they were not, for some reason out of
our power to explam, invited to assist on the present occasion.
But when, on the other hand, the value of such an instrumental
band as only could have been collected in the metropolis is con-
sidered, and if its influence on the vocal performers be duly
weighed, it may fairly be presumed that, as relates to perfec-
tion of performance — ^we waive the question of sound— the su-
periority must have been on the side of the Festival just cele-
brated m London.

Of the music chosen, the oratorios given in an entire state were
much more approved, far better relished, than the selections;
chiefly, we grant, because superior as compositions; but their
unity added no little to their eflect. The three that were per-
, formed are not dramatic, certainly, but they are narrative : each
relates a story, and, all the pieces being connected, an interest is
kept up independently of that created by the music. A selection
is commonly a jumble, partly made at the dictation of singers,
and partly by the advice of some person who means exceedingly
well, but whose judgment is not always so strong as his intention
is good. We have had occasion to regret the introduction of
some things and the exclusion of others in the selected portions of
thb Festival ; but, happily, the use of whole oratorios diminished
considerably the chances of that extensive evil which might have
sprung from the tyranny of singers, or the want of courage or
discrimination in tne managers.

The state of perfect preparation, and the uninterrupted progress
of each day's performance, are highly to the credit of the con-
ductor and his associates. No omissions, no transpositions oc-
curred ; every one was at his post, every thing in its place : no
apologies were circulated for * sudden indisposition;' no difficulty
seemed to present itself in the orchestra ; not the slightest irre-
gularity was apparent, from the first note of * Zadock the priest'
to the fast of ' Worthy is the Lamb.' The mechanical manage-
ment of the orchestra was as praiseworthy, as the ability and
zeal of the performers were conspicuous.

Not less method was shown in planning the entrances, and in
the manner of arranging the seats, as at first agreed on. Accord-
ing to the rule originally laid down, every purchaser of a ticket,
whether for a reserved place or not, was sure of a seat. Subse-
quently, however, the demand tempted the managers to ad-
mit more than could be atcommodated — ^more than could
even find convenient standing-room : nay, some who had been at
the expense of two-guinea tickets, were cast into situations
where it was difficult to hear, and impossible to see. But we have
expressed ourselves on this subject before.

Of the receipts and expenses no statement has yet been pub-
lished, but we understand that the former exceed twenty thou-
sand pounds, the latter amounting to above two-thirds of that
sum. From what sources so great an expenditure has arisen, we
cannot foresee. In 1787, it has been observed, the performers
amounted to upwards of eight hundred ; the expenses of every
kind to 7342/. It was quite as just to pay the performers now

as then, for their services ; and the declaring, as was declared,
that these ought to be rendered gratuitously, as the profits were
to be applied to the uses of musical charities, was in other words
saying, that musicians are bound to assist charities, till they are
compelled to resort to charities for assistance. But if the per-
fonners were more amply remunerated at this Festival than they
are at the Ancient Concert, for instance, the dispensers of the
funds were too liberal; for the season having been nearly over,
the performances takinjr place in the morning, and no engage-
ment therefore broken mto, it was not necessary to exceed what
is paid when almost eveiy hour may be profitably employed. Some
small sacrifice, too, was due to the art itself, which must always,
receive an impetus from such performances, and consequently its
professors must be ultimately benefited.

All who are interested in the charities among which the pro*
fits of this Festival are to be divided, are bound in the strongest
ties of gratitude to their Majesties for the patronage they be-,
stowed, which alone prevented the blindest bigotry from crushin^^
the Festival while yet in embryo. And to the noblemen and

Sentlemen who acted as Directors, those institutions are most
eeply indebted, for the influence they exerted, and the time
they, with so benevolent an intention, devoted to. the cause.
Those distinguished personages may rest assured that, though in
some matters they acted under erroneous advice, — ^that b, if such
matters were at all submitted to them — ^yet, that much permanent
advantage to the art they love will flow from performances which
they not merely sanctioned by their names, but promoted by every
means that station, combined with zeal and activity, put in their
powef. _— —

Eighteen months ago a digested plan was submitted to tfae^
managing committee of the Westminster Hospital by one of the^
governors, for a grand musical festival in the Abbey, in aid of the
funds for defraying the expenses of the new building. The;
timidity of two or three influential persons delayed the execution o^
this, and a resolution to endeavour to carry it into effect was only
entered into a few hours before the King's patronage had been
obtained in favour of a festival of a similar kind, though not on so
large a scale, for the benefit of certain musical charities. . The
Dean and Chapter of Westminster were appealed to in favour of
an institution which, both on account of its general utility and
locality, possessed so strong a claim ; but the royelfiat had gone
forth, and no modification of it could be obtained.

At the conclusion of the festival, so many had been dis-,
appointed in their attempts to obtain tickets for the two last days,
that there was a very general demand for additional performances.
It now occurred to several gentlemen that the wishes of the public
might be gratified, and the Westminster Hospital be benefited,
vrimout the smallest risk. Two more days, Thursday the 3d and
Saturday the 5th of July, with the Wednesday and Friday for
rehearsals, were all that in reason could be asked for or wished.
A majority of the prebendaries were willing to favour an applica-
tion for the use of the church during the remaining part of the
week; the Primate had been consulted, who saw no objection;
and there seemed to be every probability that the design of
repeating l^he Messiah and Isrciel in Egypt — which required no
preparation — ^would be carried into effect. When, lo ! a saga-
cious musical conmiittee assembled,— entered into certain re-
solutions, the purport of which was, that there should be four
more grand musical performances, and /our more rehearsals, — and
that the prices of tickets should contintie as before, except those
for the rehearsals, which, for reserved seats, should be raised to
one guinea! Not satisfied with entering into such ill-judged
resolutions privately, and quietly feeling the pulses of the Dean
and Chapter, and of the public, this committee actually printed
and circulated their plan, without even ascertaining that the use
of the church would be obtained ! The result may easily be
guessed: — the Dean instantly ordered the dismantling of the
nave; and a great charity, one of the utmost utility, and standing.
much in need of support, was deprived of an opportunity of adding
to its exhausted building-fund a sum which, after dividing the
profits with the performers, was moderately estimated at three
thousand pounds !

%• In eonseoaeiice of Hm mtif devoted to tho Fettiral, our Foreign Bevieifi
Dnma, &c wUi M givoa next Blontli.

LONDON: CHARLBS KNIGHT, 23, LUDOATB STREET,
raofixo n WILLIAM CLOWES^ Dvem Btreks, hjjavnu

MUSICAIi lilBRARY.

No. VI- SEPTEMBER, 1834. Price Sixpence.

TheHusieof'PartVI/ • • • • ef
The National Air—' God Save the King' • 63
Popular Songs of the Inhabitants of the Feroe

• ••••64

CONTENTS.

ReTiew • • •

Westminster Festival
Birmingham Festival
Foreign Musical Report

65
68
68
69

Psjfi
The Dnma •.•••• 70
Extracts from the Journal of an Amateur • 71
Notice to Correspondents • • • •72

THE MUSIC OF PART VL

Quartet — (Page 85.)
Fits times, by the taper's light.
The hour-glass I have tumM to-night
Where's father ? — He's gone out to roam :
If he have luck.
He'll bring a buck,
Upon his lusty shoulders, home.
Home! home!
He comes not home ! —
Hark ! from the woodland vale below.
The distant clock sounds, dull and slow,
Bome! home! home!
This is the opening of The Iron Chest, by « George Colman,
the younger.* Scene, the cottage of a poacher^ whose hungry
family are anxiously expecting his return. The composer is
Stephen Storage, whom, in relation to this play, the author of
it, in his very remarkable preface *, mentions in the following
eloquent language : — ' Nay, even the composer of the music —
(and here let me breathe a sigh to the memory of departed worth
and' firenius, as I write the name of Storace) — even he could not
preside in his department. He was preparing an early flight to
that abode of harmony where choirs of angels swell the note of
welcome to an honest and congenial spirit.' (See page 6 of this
Supplement.)

Song— (Page 88.)
Pretty fairy, pretty fairy, oft I view thee

Dancing in the moonbeams o'er the lilies pale ;
Pretty fairy, thou art gone when I pursue theci
Lost within the blue-bells down in the vale.
Could'st thou lend me thy light wings,
I would fly where lindor sings
To the waters mute.
The breathing flute,
Or harmony of strings.
If his song were not of me,
I would quit him silently,
Then drop into a fairy-cup, and warble blythe as he.
Could I learn thy magic art,
I would creep within his heart.
There with tender wiles,
And kindling smiles.
Perform the Syren's part.
If my feat survived the hour,
I would trust Love's fleeting power,
While, with fidry skill,
I rear'd at will,
A rosy, nuptial bower.
This appeared in the Harmonicon six years ago : both words
and music are by

MISS MART LINWOOD,

concerning whom our information only enables us to state, that

* The edition of the play having the Preface Is become exceedingly rare. Some
of onr leaden may, perhaps, not know that this Preface was written for the purpose of
attacking Mr. John Kemble, the original Sir Edward Mortimer, who tLe author
suspected had feigned illness on the first night of the performance of The Iron Che»t,
while he refused to have an apology made for indisposition. It was generally believed
that that great performer did not much like his pak, and was not particularly anxious
finr the success of the play. Its merits, however, aided too by such music, canidd it
safely tbnmgh all peribi and it now tokst place among ouidrunatiGclaasics.

she is the younger sister of the justly-celebrated artist. But we
may venture to add, that these two highly-gifted ladies are not
more closely united by the tie of relationship, than by their love
for the sister arts of poetry, painting, and music.

Invocation — (Page 91.)

Giusto ciel ! in tal periglio,
Pid consigllo, pi& speranza
Non ne avanza, che gemendo»
Che pianffendo,
Implorar la tua piet2k.

Sung in Rossini's Assedio di Carinto, which opera is in fact
only an alteration of his Maometto IL The Turks, commanded
by Mahomet the Second, have commenced the storming of Corinth.
Pamira, daughter of the Greek governor, and heroine of the
drama, ejaculates these few lines just before the city is discovered
in flames, and the opera terminates.

GIOACCHINO ROSSINI

was bom at Pesaro, a small town in the papal states, in 1792.
His father was a horn-player of an inferior order, who lived by
frequenting fairs in company with his wife, a passable itinerant
seconda donna. In 1799 the parents of Rossini removed to Bo-
logna, but he only commenced the study of music at the age of
twelve, under Angelo Tesei, who instructed him in sinj^ing, in the
art of accompaniment, and in counterpoint. In 1806 he sat at
the piano-forte, as accompanist, at Lugo, Ferrara, Sinigaglia, and
other small towns. In 1807 he entered himself at the Lyceum^
at Bologna, and became the pupil of the padre Mattel. A year
after he ventured to compose an overture, and a cantata, entitled
II Pianto d'Armonia. In 1810 he met with a patron, a rich
amateur, who took him to Venice, where he composed, for the
theatre San-Mose, La Cambiale di Matrimonio, an operetta in one
act. He then returned to Bologna, and in 1811 produced UEquU
voco Stravaganie, The following year he revisited Venice, wnere
he brought out VIngannofelice. In 1813 appeared in the same
city his first great work, Tancredi, which very soon established
his reputation throughout Italy.

Rossini now was called to Milan, and wrote for La Scala, £a
Pieira di Paragone, V Italiana in Algeri, R Turco in Italia, &c.
In 1815 he was appointed Music- Director of San Carlo at Naples^
and immediately produced Elisabetta, Regina d* InahUterrai
which was followed by Otello, Ricciardo e Zoraide, La Donna del
Lago, La Oazza ladra, Mosd in Egitto, and many other operas.
II iBarbiere di Siviglia was written for the theatre d^ Argentina, at
Rome, in 1816, where La Cenerentola was brought out in 1817.

In 1822 2Selmira, performed at Naples, gave indication of a
change in Rossini's style; it was strongly tinctured by the German
schod. But this became still more a^^parent in his Semiramide,
brought out at Venice in 1823, in which tbe «ctto/a tedesca pre-
vailed so strongly, that M. de Stendhal (i.e. M. Beyle) tells us
it was received with hisses*; a treatment to have been expected
from a people who cannot listen to the operas of Mozart.

* Hie same writer observes, thai the composer was guilty of a geographical error
when lie wrote this opera, which he thinks better ciJculated for tM meridi«i of
Berlin. He adds, ' I eonsole myself with never having heard it at the theatre : sung
to a piano-forte accompanimeiiti it gives me no pleafuie.' {Fitde Jlommi, ii., $03.)

THE MUSICAL LIBRARY.

In 1824^ Rossini made his first and hitherto only visit to this
country, under an eng^gfnneiit as diijtctor^of the KingVThcttre,
and to furnish a n^ opera. Though he gained an encrmous
sum of money here, the theatre did not in any way profit Tby his
presence, and he failed to produce the opera which he undertook
to compose. Two years after Signor Rossini engaged to com-
pose an opera, to French words, for the AcadAnie Roy ate. Instead
of completing the latter engagement, he altered and added to his
Maometto Secondo, which he brought out under the title of Le Si^ge
de Corinthe. In 1830, he produced, at the same theatre, Guil-
laume TeU, written in his second style, whicTx met with great and
deserved success. Since then he has remained in- a state of pro-
fessional inactivity, reposing under his laurels.

. Round — (Page 92.) . • , .

' How^great 18 the pleasure, how sweet the delight,,
XVhen soft love and music together unite I . , ,

jCoipposedj and we believe written, by

HENRY HARRINGTON, M.D.,

a physician, eminent in Bath during the last century, bom in
Somersetshire in 1727, was a lineal descendant of several persons
distinguished by wit and learning ; among whom were Sir John
Harrington, K.B., the translator of Ariosto's Orlando Furioso,
and John Harrington, the author of the Oceana. His father's
affairs having become much deranged, his elder brother was pre-
vailed on to cut oflf the entail of the family estate, a proceeding
followed by the most injurious consequences. Henry was educated
by his uncle, who entered him at Queen's College, Oxford, where
he regiJarly proceeded to the decree of doctor in medicine. His
leisure moments were all devoted to music ; and in his eighteenth
year he produced his charming duet Damon and Clara. 'At an
early age,' says the Annual Biography, * he discovered such** an
acquaintance with mathematics, metaphysics, music, and poetry,
as astonished his fellow-collegians.' • . • He was fond of the
mechanical arts, and showed much ingenuity in the construction
of several mathematical instruments. He was also well acquainted
ivith astronomy. ... To him the Harmonic Society of Bath
owed its birth, the object of which was the performance of glees,
&c. The number of subscribers was great, but the members
nevertheless were select — none but gentlemen of charactet being
ever balloted for. ... A few years before his death, he was
elected to fill the office of Mayor of Bath, the duties of which
station he executed with talent and dignity. . . • He attained
unusual longevity, and died, or rather passed away to a better
world, on the 15th of January, 1816.' His compositions long
delighted 1he public, and though they make no pretension to
what is called science, yet scientific musicians of taste have always
admired them for their sweetness of melody and elegance of har-
mony.

Madrigal — (Page 93.)
Concerning the composer of this, John Dowland, see p. Sw

Air— (Page 96.)

Sweet are the banks, when spring perfumes

The verdant plants and laughing flowers ;
Fragrant the violet, as it blooms.

And sweet the blossoms after showers:
Sweet is the soft, the sunny breeze.

That fans the golden orange grove ;
But oh ! how sweeter &r than these

The gentle smiles of her I love !

Ye roses, blushing in your beds*

That with your odours scent Uie air !
Ye lilies chaste, with silver heads^
As my Cleora*s bosom fair ;—
No more I court your balmy sweets.

For I, and I alone, can prove
How sweeter, when each other meets.
The gentle smiles of her I love.
These are the two first stanzas of a song in Ritson*8 Collection,
with a slight verbal alteration in the last line of each. The
author is

WILLIAM WOTT,

who published several poetical pieces between the years 1762
and 1775 ; and this is all that is said of him in the BibUotheea
Britanmca, The Biographical Dictionary does not contain his
name. Surely the author of the beautiful lines on the dealii of

Goldsmith, prefixed to the memoir bv Dr. Anderson, deserved
some^igh^ notice.- The music to which these verses are adapted
is an air in the French opera, Les deiuB Jaumees, composed by

MARIA-LTJIGI-CARLO-ZENOBI-SALVADOR CHERUBINI.

This polynomial, great musician was bom at Florence in 1760.
At the age of nine he commenced the study of music under Bar-
tolomeo Felici, and afterwards became the pupil of Bizzari and
of CastruccL .In 1773, a mass of his composition was performed
in his native city, and follpwed during the next five years by
other works for the churchy which were so much approved, that
he attracted the notice of the Grand Duke of Tuscany, who took
him under his patronage, and entered him as a disciple of Sarti,
then living at Bologna/ He continued with this master four
years, assisting him much in filling up the scores and uniting the
subordinate parts of his operas^ when he had undertaken more
than he could in the allotted time accomplish.

In 1784, Signor Cherubini visited England, and passed two
seasons in London, where he produced two operas. La Finta
Principessa and Giulio Sabino. In 1786, he repaired to Paris,
where he fixed himself; though he made occasional excursions
to other countries : for in 1788, he was at Turin, where he brought
out his Ifigenia in Aulide. Returning to Paris, he in the same
year produce<j, at the Academic Royale de Mitsique, his opera
Demophoon, the first piece he wrote for the French stage. This
was followed by many other works. In 1791 he gave at the
Theatre Feydeau his Lodoiska, which forms an epocha in his
life, for it stamped him at once as a genius of the highest order.
It was succeeded by Elisa, Med^e, Anacreon, Les deux JoumSes,
and L'Hdtellerie Fortugaise.

The great success which Signor Cherubini met with in his
adopted country wafted his reputation to distant cities, and in
1805 he accepted an invitation to Vienna, where he produced
his Faniska. When Beethoven heard this opera, he declared
that its author was the first dramatic composer of the age ; and
Haydn, embracing him, called him his son. Two months after,
the French entered the capital of Austria, and Napoleon, who
then witnessed the honours rendered to Cherubini, sent him back
to Paris laden with promises — which were speedily forgotten.
The fact is, that the musician possessed too independent a spirit
to become a courtier, and told tne conqueror truths which would
never have issued from the mouth of one governed by motives of
self-interest. He withdrew from public notice for a time ; but in
1809 produced his mass for three voices, which was received at
the concerts of the Conservatoire with enthusiasm. He now
devoted himself to sacred music, in which he was even more suc-
cessful than in his dramatic labours. He soon was named one of
the five inspectors of the Conservatoire ImpMale, and obtained
other appointments; all of which were secured to him on the
return of Louis XVIIl., who did not the less esteem and notice
him on account of the neglect and slights he had met with from
Napoleon.

In 1816, Cherubini, at the invitation of the Philharmonic
Society, paid a second visit to London, and composed, for the
concerts of that body, a symphony, overture, and ^rand vocal
sestetto. His success on this occasion was not equal to the ex-
pectations in which saoguine people had indulged, and inferior
to his Qwn hopes. Afterwards, on the death of Mehul, he wrote
his Requiem, a work that will outlive all else to which his genius
has given birth, though, we regret to say, it has never yet been
pubhcly heard in this country *.

After having retired from the theatre nearly twenty years, and
when he was more than a septuagenarian, Signor Cherubini suf-
fered the lyric stage again to call forth the efforts of his genius.
In 1833, he was prevsuled on to set an opera to music, and Ali
Baha was performed at the Academic Royale, with a success
which proved, if we may rely on the reports of the French critics,
that time had long travelled with the great composer without
weakening his judgment or impairing his imagination.

Round— (Page 97.)

Call Philip Flat-nose, straight he frets thereat ;
And yet tins Philip has a nose, that's flat

This whimsical equivoque, from a volume of * Satyrs and Epi-

• It wu perfonaed a few weeln tince at the houae of an excellent diUiianie, in
Qoeea Sqnase, 1^ boom ^wy f^ood aiogen and the principals of the Opera band, all
of whom weie aetoMihad at its having ao long Rmaiaed unknown to the managen ^
our public concert!.

THE MUSICAL UBHARY.

6»^

mam,' i^blisbed in 1620, k by Henry Fitz-Geflfry, whose iktber,
Charles Fitz-Geffry, also a poet, is mentioned at some length in
liVood's AthetuB Osamefues. The miisic is an impromptu, written
^ fill up a spare corner in the page.

- Air— (Page 98.)

, LaRachelina^

Molinarinay

II 8UO signore

Yiene ad inchinar.
. Tib. vi direi

Ma non conviene

Lo so cbe io vorri. •

Ma non. . .ata bene !

Son schietta, schietta,
; Vergognosetta,

4 £ la modeatia

Tacer mi Ul

From Paisiello's comic opera. La Molinara, revived at the
King's Theatre in 1817, in which Mad. Fodor so much dis-
tinguished herself as Rachelina, the Maid of the Mill. This air
was introduced by Stephen Storace in The Haunted Tower^ and
was sung by Signora Storace, as Adela, to the following words,
written by James Cobb, Esq., author of that opera, and other
dramatic pieces, which, as vehicles for music, proved successful,
and are occasionally performed.

\yhither, my love, ah ! whither art thou gone ?

Let not thy absence cloud the happy dawn.

- Say by thy heart can falsehood e'er be known ?
Ah \ no, I judge it by my own.

The heart he gave with so much care.
Which, treasured in my breast, I wear.
Still for its master beats alone :
I'm sure, the selfish thing's its own*

Whither, my love, &c.

' GIOVANNI PAISISLLO,

son of an eminent veterinary surgeon, in the service of Charles IIL
of Naples, was bom at Tarento in 1741, and placed, at five years
of age, in the Jesuits* college of that town, where he evinced so
fine an ear and so much talent for music, that his father was
persuaded to allow his being entered at the Conservatorio S<»
Onofrio, at Naples, where he studied under the celebrated
Durante so successfully, that in five years he attained the highest
lank in that school, and then devoted four years to the compo-
sition of sacred music. He next produced a comic interlude, which
brought him into notice, and in 1763 was engaged to compose
An opera for the theatre at Bologna. This was followed by a
multitude of others, to the year 17?6, when PaisieUo entered into
the service of Catherine II. of Russia, at a salary of 9000 roubles.
He remained in that country nine years, and, among other works,
produced La Serva Padrona^ and II Barbiere di Siviglia. He
then brought out at Vienna II Re Teodoro ; after which he re-
turned to Naples, when, to secure his services, Ferdinand IV.
Settled on him a pension of 1200 ducats. He immediately com-
posed his Antigonoj La Molinara, Elfrida, &c. These were
succeeded by L' Olimpiade, I Zingari in Fiera, &c. ; also a funeral
symphony, for the obsequies of General Hoche, which Bonaparte
acknowledged by a handsome present. By desire of the King of
Naples he now set Nina, o la Pazza par VAmore. Then La
Locanda, for the King's Theatre, London, performed afterwards
lit Naples, under the title of II Fanatico in Berlina. When
Bonaparte became First Consul of France, he invited PaisieUo to
Paris, where he was provided vidth a suite of apartments elegantly
furnished, a court equipage with suitable attendants, a salary of
i2,000.francs, and a gratuity of 18,000 more for incidental dis-
bursements. The climate of France not agreeing with his health,
lie returned to Naples ; and when Joseph Bonaparte ascended the
throne, PaisieUo was confirmed in all his appointments, with a
^ary of 1800 ducats. At the same time Napoleon sent him the
cross of the Legion of Honour. He now was named a member of
Several learned societies, and elected an associate of the Institute
of France. He died at Naples in 1816, and that city rendered
him funeral honours.

PaisieUo^ says the Chevalier Le Sueur, was not only a grea*
musician, — he possessed a large fund of information, was skiUed
in' the learned languages, he was conversant in all branches of
literature^ and lived on terms of friendship with the most dis-

tinguished persons of - the age. He* composed twenty-seven
serious and fifty-one comic operas, besides a vast number of.
cantatas^ masses, motets, &c;, &c.

Morning — (Page 93.)
The instrumental introduction to the third part of Haydn's
Creation, a descriptive piece, full of beauty of the gentlest kind.

Adagiot AND Andante — (Page 94.)
Arranged from a violin concerto of

GIOVANNI MANE GIORNOVICHI, *

a violinist who attained great celebrity in Paris and London at
the latter part of the last, and beginning of the present century.
He was bom at Palermo, in 1745, and about 1770 appeared at
the Concert Spirifuel In 1782, he was first violin in the service
of the Kin^ of Prussia. In 1792, he arrived in London, and
continued here, performing frequently both in public and ia
private, till the year 1796, when a turbulent disposition com-
peUed him to quit this country. He died of apoplexy at SL .
Petersburg, in 1804. Of his works, seven symphonies, nme con-^
certos for the violin, and a coUection of quartets, are published in
Paris.

Minuet and Trio— (Page 97.)
From the 1 1th of the twelve grand symphonies composed by
Haydn for Salomon's Concerts (see page 27). These and tlie
two preceding compositions may form an exceUent divertissement.

Pastoral Symphony — (Page 100.)
This, from The Messiah, we have put into the form of a duet;
in order to introduce the accompaniments added by Mozart^
which cannot be compassed by a single performer. Handel has
used stringed instruments only ; Mozart augmented the score by
the addition of flutes, oboes, clarinets, bassoons, and horns. .

Overture, Prometheus (Page 102.)
Few admirers of music of the highest class are unacquainted
with this, one of th^ chefs-d^asuvre of Beethoven ; but manv are
not aware that it is the overture to a grand baUet, Die Geschhpfe
des Prometheus — The Men (creatures) of Prometheus, brought
out at Vienna, in 1801, by the famous ballet-master, ViganoJ '

March— (Page 108.)
From the same baUet. In its entire state this is very king, and
often repeated, to suit the action on the stage. We have given
the substance only, omitting that portion which, out of the tb^tre^
would seem unconnected with the march.

Introduction and Air — (Page 109.)
Also from The Men of Prometheus.

THE NATIONAL AIR— 'GOD SAVE THE KING.

The following^ article has, during the latter part of the last
month, gone the round of aU the newspapers. The impenetrable
obscurity in which the history of this air is enveloped, and in
which it probably will for ever remain, renders it an inviting
subject for speculation. Afler a few remarks on what is now saic^
we wiU lay before our readers a very able essay, full of laborious
research and acute reasoning, which appears in a work, litde
known, published ten years ago : —

* God save the King. — ^They write from Edinburgh (says the
Cabinet de Lecture, in Paris) that the manuscript memoirs of the
Duchess of Perth have been lately sold in London for 3000?.
sterling. Among these are to be found a number of interesting
detaUs relative to the court of Louis XIV., as well as of James II.»
during the sojourn of the King and Queen of England at St.
Germain en Laye. In giving an account of the establishment of
St. Cyr, she bears testimony to a fact not quite unknown in
France, but which hitherto rested on that of the ancient nuns of
this house — namely, that the air and words of God save the
King are of French origin. She says, " When the Most Christian

King entered the chapel, all the choir of the aforesaid noble

, . ^

* In Franee Yum Dame is, Tery ineorreetly, ipelt Jamooick, — an orthogcapli^
adopted in Beea* Cydopadia, though its erroueouMWM ia tbare poiatod out and
censured!

64^

THE MUSICAL LIBRARY,

damsels sung each time the following words, to a very fine air by
Sieur de Lnfiy :

* Grand Dieu, sauvez le Roy !

Grand Dieu, vengez le Roy !
Vive le Boy •

Que toujours glorieiu^

Louitt victorieuXf

Voye ses ennemis

Toujours soumis!

Grand Dieu, sauvez le Roy?

Grand Dieu, vengez le Roy!
Vive le Roy !
*' The tradition*' (proceeds the Duchess) *'at St, Cyr is, that
the composer, Handel^ during his visit to the superior of this
Tov^l house, obtained leave to copy the air and words, which he
submitted to George I. as his own composition."

' Madame de Crequi, in her Itecollections^ relates the anecdote
in the same manner, and adds that the words were written by
Madame Brianon. Two English journals and the Gazette de
France have published several documents attesting the origin of
this song ; but, in spite of all these authorities, it may be doubted
that a composer of such genius as Handel could have lent himself
to a step so vile. The fact of the importation of the motive
\motv€o\ of God save the King appears undeniable ; but there is
nothing to show that Handel passed it off as his own composition.'

After comparmg the melody of God save the King with the airs
in Lully's operas, we are thoroughly convinced of the fallacy of
ascribing it to that composer ; nothing can be less like than his
style and that of the melody in question. Indeed^ the latter,
in its present state, bears internal evidence of having been the pro-
duction of a much more recent period. Our conjecture is that the
original words were set to an old air, to be found in an exceedingly
rare book, printed in 1682, the first edition of which appeared
1665, This work has the subjoined title :

CANTUS,

S^mffi AriH :fanciti.
To Several Musical Parts,

(Both apt for Voices ud Viols.)
7%e 7%ird Ediiiim, exaelfy Corredtd and En/arged.

TOQSTHER ALSO

With several of the choicest Italian dona< and new ffnjttCitf]^ ii$uig
all in Three Parts (viz.) Two Trebles and a Bass.

Mott pleatant and delightful for all Humours.
ABERDEEN,
Printed by Jobm Forbbb, Printer to the ancient Citj of Bon-Accord^
Anno Dom. 1682.

The following is the first treble part of the air alluded to,
the ninth song in the volume ; but the music is not barred :

xS:

Re f mem • ber,

thou man^ O thou man.

Q 4 d

-Gt

thou

Re • mem • ber,

thou man.

"O Ql

lo:

| Oj

F==t

-e^

thy |une is tpent. R« • mem • ber, O thou maii|

O) O ~C3|

ZCJt

-e>-

X2:

wa$ dead and gone,

did

3S:

what I can; there • fore re • pent

There is so great a resemblance between this and the more
modem air, that it is not irrational to suppose the one to have
|>een founded on the other. The change from minor to major is
explained b^ the change which had taken place in musical taste
4uring an mterral of eighty years ; and the difference in the
number of bars — ^the more ancient air having two Ynore than the
tnore modern — obviously would have arisen from the difference
in jpoetic^ pjeasure.

If then it be admitted that the modem air God save the Kin^
is any thin^ but in the style of Lully, and that probability is in
ftivour of Its having derived its origin from that in Forbes^a
Cantus, the statement in the Perth memoirs must be admitted ta
be founded in error.

The words of God save the King are believed to have been
written for James II., on the landinff of the Prince of Orange, in
1668. There now seems to be little doubt on this point. The
establishment of St. Cyr dates its foundation in 1685; therefore
the lines cited by the Duchess of Perth may have been the
source of our national anthem, so far as the poetry is concerned.
^ With respect to Handel, we never before heard of his having
visited Versailles, and much doubt the fact. That he did not
claim the air God save the King is to be inferred from its having
been published, in various forms, during his life without any
name; and also because even rumour did not, at the time when
the melody became extremely popular, ascribe it to the German
composer, as appears by the testimony of Dr. Burney, who him*
self arranged it, in 1745, for Covent Garden Theatre.

In our next we will insert a very curious and satisfactory
Essay on this subject, which appears as a note in Mr. Crosse's
History of the Grand York Festival in 1825.

POPULAR SONGS OF THE INHABITANTS
OF THE FEROE ISLANDS *.

It is well known that between 61*^ 15', and 62^ 21', north latitude,
there is a group of islands, 45 miles from the Shetland isles, and
84 from Norway, covering 23 square miles. Of these many are
uninhabited, — and many more uninhabitable, — from the almost
total absence of vegetation. ITiey are known by the name of the
Feroe Islands, and belong to the kingdom of Denmark. Their
population is only 5000 souls : they hve on the produce of their
fishery and on their sheep, the culture of the earth producing next
to nothing. It may be easily conceived that such a state of things
is not likely to attract strangers,— these spots^ therefore^ are but
little frequented or explored.

The language of the inhabitants is a mixture of the aboriginal
Norwegian and Danish, but so disfigured by peculiar and whim-
sical idioms^ that the most learned men of the three countries are
compelled to study, in order to comprehend it. Everybody speaks
this patois, but in the whole of the islands there has not been dis-
covered, — I will not say a single printed book^ but not a single
sheet, written in the language of the country. With very few
exceptions all the inhabitants read and understand the DanisI^
language. This is exclusively used in the churches, the 'courts^
of justice, and for all written matters, whether public or private.

On holidays, weddings, and other rejoicings, they dance, as is
everywhere usual, but no musical instrument is known ; and the
dancing is invariably regulated by vocal music. A singer chants
the air called for by the dancers, and the burthen is sung in chorus*
The song always oegins by the burthen, which recurs after eacli
stanza; often even after each line ; and the steps of the dancers
are regulated by the words of the song.

These songs are traditional^ and preserved only in the memo*
ries of the iimabitants. The child learns them by rote from th^
mouth of its parents, and commits them to memory with more
satisfaction and ease because the subjects always turn upon the
glorious deeds, both historical and fabulous^ of their ancestors, or
of some foreign hero of high antiquity* whose renown has reache^
even these desert isles. Tliey exhibit characteristic traits, whicli
prove to demonstration that some of their songs have been pre*
served a thousand years.

These facts, of which it is easy even now to ascertain the tnithg
prove, that Tacitus ought to be credited when he says, speaking
of the Germans, — ** Celebrant carminibus antiquis (quod unufi|
iOis memoriije ac annalium genus est) Tuistonem deumi terri^
editum, et filium ejus Mannum.**f

Not lonor ago some learned Danes endeavoured to collect an4
copy, by the assistance of a few of the inhabitants of Feroe, s^
certain number of the popular songs of that country. At th^
Royal Library at Copenhagen there exists a manuscript in thre^
volumes quarto, containing 51 different pieces ; and a respectable
ecclesiastic^ M. Schroter, pastor at Feroe, has published a list of

From the JZnwe Mmieatf,
Oermamaf cap. ii.

THE MUSICAL LIBRARY.

166 songs that had come to his knowledge, of ftn antiquity more
^r less remote, but of which the most modem is 100 years old.

At length, in 1817, M. Lyngbye made a voyage to the Feroe
Islands, in order to collect materials for a work entitled Hydro-
fhytolo^ia Danica^ by which he has already well earned a high
reputation. He employed his leisure hours in committing to
writing, under the instruction of several aged men of the country,
many popular airs, which he published*, whereof the eleven first
imn^ediately relate to the feats and actions, as well as the adven-
tures, of one illustrious warrior and his family, and may be consi-
dered as so many cantos forminfi^ a species of epic poem; rough, as
to facts, but full of interest to the antiquary. The author of the
introduction views this chain of poetry as the most important of
all the poems that exist in the country.

One characteristic custom deserves mention. When an inhabit-
ant of the island has committed any very reprehensible action,
though not cognizable by the laws, they punish him by satirical
8on|^. At the first holiday or assembly which occurs, two robust
bachelors seize the offender by the arms, and force him to dance,
whether he will or not, according to the rhythm of the song of
which he is the unhappy hero. If the poetry is approved, it con-
tinues fixed in the memories of everybody, and thus becomes a
national song.

It is unnecessary to lengthen this article by further details, or
by any specimens of the poetry to which these popular airs are
set Neither the general nor the musical reader can take much
interest in the deeds recounted in the mythology of barbarians, or
of heroes celebrated by the rude poets of a nearly savage people.
But to gratify the curiosity of those whose inquiries lead them
among the traditions and annals of high antiquity, a specimen of
one of the songs of these people is subjoined, as transmitted to
the present inhabitants of Feroe by their ancestors. It is the first
couplet of a rhapsody, preceded by the burthen, which is repeated
at length after each couplet, and sung in chorus by people of
Iboth sexes. This melody was noted down, at Copenhagen, by a
distinguished amateur, after the singing of a native of the islands.
The words are translated into French from the onVinal, as faith-
AiUy as possible ; but to understand their sense it is necessary to
be informed, that the first exploit of Sigurd, — ^the hero of the
poem, — was his killing an enormous serpent, which had couched
upon a treasure captured by Sigurd. Having destroyed the
terrible animal, he loaded his horse with his pnze, consisting of
twelve cases filled with gold. The name of the horse was Gran,
who, according to the story, was endowed with strength and
other powers of a supernatursd kind.

Burthen.

?v=R

• # 1?

A J->J-^

Gran por - ta Tor de la ter - re. Si - gurd ti • ra

N N | N

fe^

h Kit ^

ri — J- . j>

•OD fer-en fu-ieur: II fut du wr-pentTun^neur, et

^^^

fin» SoNo.

N N I N N-

iipt

€hran por - ta von de la ter •

re.

Si met chants tous

^ P^pmhr Songt of ike Mahiit^it o/Me Ftroe IdamU^j^mhiuhed 6y AT. B. C. l^g-
If*; fit Imir^dM^km bf P. E. Muiler. Hmden in JuiUmd, 1822.

1 > N S

font pldi - KIT J'in • itrui - r^ Ta - re * nir Dea

I . i

IOC

(

=fe

iZi p

' ' J ^ • •

n - f ei ex - ploits da not

-Gh

:1=r

grandi lois. Da Capo^,

1 I I ^^z

- REVIEW.
PIANQ-FORTR

Fantiisib, composed hy F. Mendelssohn-Bartholdt. (Mori and

Layenu.)
This is a true Fantasia — a fliglit of the Imagination, the fancy running^
wild, or only under very little control — and bearing on its front every
appearance of spontaneous production. Like all that flows from the
pen of M. Mendelssohn, originality is the leading feature of this compo-
sition ; and, as is the case in some few of his works, while soaring into
new regions, his design is not always quite obvious to those whose
faculties are cast in a more earthly mould — who hope to discover a
subject without the labour of exploring, and to be able to trace it
throughout its progress, however erratic its path.

But possibly the present work was never meant to be addressed t(^
ordinary minds : it is dedicated to a kindred spirit, to one who pene-
trates the medium through which genius occasionally strays, and viewi
its wanderings with a tender eye — ^to Mr. Moscheles, who will doubtlesH
discover in it whatever beauties are apparent to us, besides others hidden
from our view.

This Fantaifie is in three connected movements : the first and last in
F sharp minor, the second in d, and all rapid except a portion of tto
first, which is marked andante. The most pleasing part, that wherein
most melody and greater clearness of intention are to be found, is
the second movement, an allegro con moio, in half -common time : this
will gratify moat hearers, and repay them for the effort they will have to
make (in vain, we fear) to comprehend the rest, which will prove, for
many years to come, if not for ever, * caviare to the generaL'

Brilliant Variations on the Tyrolienne in Juber*s opera^ La FiancSep

composed by Hbnri Herz. (Chappell.)
We cannot accuse M. Herz of any excesses of imagination : when lie
attempts to soar, it is to that place where, as the poets tell, disordered
wits find an asylum. His flights are traced easily enough; but he ia
only followed by those who, having no rational employment for their
hours, become pieces of mechanism, and kill time by practising. None can
hope to subdue these * brilliant variations' except such as will sacrifice
numberless precious hours — ^hours in vain bewailed in after life — ^to the
accomplishment of them. And when a power of executing such music
is acquired, who will, unless out of courtesy, listen to it patiently ? — ^No
one, we can assure the fair performers — not any human being that
women of sense should wish to please. The best part of this publicatioo
is the air, the justly popular air, of Auber ; and tne Introduzione is not
without merit. Of the six variations, and the Finale of seven pages — (thd
whole together making nineteen !)— ^we can only say that they are
abundantly rich in extravagances, and miserably poor in effect : and
we think it may be fairly questioned whether the treadmill — putting the
disgrace and bad company out of view — for a month, would not be more
desirable than four weeks spent in mastering this new work by M,

Herz.

Brilliant Variations on a Waltz by Count Gallenbero, &y G. A*

Osborne. Op, 13. (Chappell.)
These variations are not improperly designated; but their brilliancy
difiiers widely from that of the composer whose work we have just
quoted ; for though they require a good player, they demand no power
of execution that is not attainable at a reasonable expense of time ; BXki
while they are rapid enough for such as require the stimulant of quick
motion, and sufficiently showy for those who wish to make some display,
they are substantially good as musK, and evince superior taste, great
feeling, a full knowledge of the capabilities of the instrument, and of the
best means of exhibiting them. The air itself, in a flat, is tender^ beau*
tiful, and well treated ; the Adag^ ih very graceful ; and the whole

O 3

THE MUSICAL LIBRART.

togelLer places this eompoBer— wlio is oar countrymao, tluMigli be
resides abroad— high in our estimatioB.

Op. 14.

£f7U8I0NE Musicals, composed hy Charles Harqitt, Jun,

(Pordie, Edinburgh.)
T«B is in fact what is commonly called a Fantasia* but under a different
luone. The composer throughout shows a most praiseworthy deter-
mination to avoid all commonplaces, and exhibits a considerable share
of invention, as well as a very correct taste ; though he has extended
his principal subject rather beyond its strength. In his first movement
we were surprised by z fughella, yrhich, not being carried out to any
length, is an agreeable novelty hi a piano-forte composition. The last
movement, a Sicilianat is elegant and well written. The whole is
adapted to players in general, and' will please both performer and
auditor. We will not quit this without saying how much we approve
the author's notation: he has employed minims and crotchets, &c.,
where many are too apt to use notes of half the value, and thus has
rendered his composition more pleasant to the eye, and much easier to
the player. There is a good sense in this which calls for notice ; and
not less is manifested in his use of the metronome, by which he has
marked the speed of all his movements, leaving nothing to be guessed at
— to be often mistaken.

VOCAL.
Select Pieces from The Deluge, a Sacred Oratorio^ hy F. Schnei-
DBR, translated from the German by Edward Taylor ; the accom-
paniment for the Piano-forte revised by V. Novello. Nos. 1 to
4. (Mr. E. Taylor, 3, Regent-square.)
The oratorio of The Deluge is a recent production in Germany, and
was very lately introduced to this country by Mr. E. Taylor, who
translated and brought it forward at the last, or a former, Norwich Fes-
tival. The composer first made himself known by a theoretical work,
published at Leipzig in 1820, entitled Elemeniarbuch der Harmonic
%nd Tonsetzkunst (Elements of Harmony and Composition), a clever
treatise, much, however, borrowed from Gottfried Weber, and of which
9 translation appeared in London six years affo.

These &ur pieces, if they do not exhibit the author as a composer of
the first class, show him to be an able musician and a man of judgment :
they well express the words, and are devoid of all pedantry. No. 1 ,
* Joy returning,' is a chorus, accompanying an air sung by a soprano,
a gentle, elegant composition, slow, easy to execute, and well suited to
domestic parties. ■ A few notes run high for the principal soprano, but
these admit of alteration, without at all injuring the effect No. 2 is a
chorus on a grander plan. Here the author presents himself in a more
learned character, and in a fugue on two subjects displays his science ;
not science, however, of the dry kind ; it may have cost some midnight
oil, but it smells not of the lamp. The third is a terzetto, for soprano,
tenor, and base ; for the form of which the author is indebted to the
terzetto in Haydn's Creation^ but for the form only. This is a very
pleasing trio ; the parts are all melodious, or sing weU^ in the technical
phrase, and co-operate effectively. No. 4, ' On the dwellings of thy
children,' is a soprano solo, a solemn invocation, slow, simple, and most
impressive. We recommend this, and No. 1, to parochial choirs. The
latter, introduced and followed by an appropriate hymn, or a psalm-
tune, for three or four voices, would be found exceedingly useful in
parish churches and chapels.

The English words are admirably well adapted to this German music :
without previously being aware of the fact, it would be impossible to
discover that the notes had been originally set to another language.

Duetto, * Vanne a regnar ben mio,' per soprano e contr^alto^ composto
da Frederick Arthur Gore Ouseley, alP etd di otto annL (J. A.
Novello.)
I'm! composer of this work, the only son of the learned and distin-
guished orientalist, the Riglit Hon. Sir Gore Ouseley, Bart, is the
greatest musical wonder of the present or any other age. All that the
Hon. Daines Barrington has recorded in the Philosophical Transac-
tionst of the precocious talents of Mozart, of Crotch, and of the two
l^esleys, ceases to surprise when compared with what is known of this
child, and to which hundreds of witnesses can bear testimony, many of
ivhom, fully qualified for the purpose, have had ahundant opportunities
to investigate every fact relating to the case, and to satisfy themselves
that neither parental partiality nor the love of the marvellous has led
to any delusion on the subject.

The Harmonicon for May, 1838, in noticing a march composed by
the young Ouseley, when only six years old, mentions him in the follow-
ing manner : — ' We can speak of the extraordinary, the unexampled
genius of this little boy, on the authority of a gentleman in whose report
we place the most implicit confidence. He has received no instructions
In music, and though taught by himself to play with considerable skill
on the pianoforte, does not know his notes on paper, and trusts to his
sister for writing down what he composes. lie improvises entire scenes,
singing to his own accompaniment^ the latter often exhibiting harmony
the most reckerchee, chords that an inexperienced musician only uses

with cantkm ; Imt these are always introduced and resolved in m strictly
regular manner, not by nde, for he has Jeamt no rules, but by the aid
of a very surprising ear, and of some faculty, which, for want of a better
term, we will call intuition. His oigan of hearing is so fine, that, with
his eyes closed, he instantly names any musical sound produced ; and so
discriminating is this sense in the child, that, when a note is struck on aa
instrument tuned either above or below the usual pitch, he immediately
discovers, and accurately states, in what the deviation consists. A chord
of four notes having been sounded, he named each note exactly, though
at some distance from the instrument, and with his back turned to it.
When five years of age he suffered during some weeks from a continued
fever, and on his recovery composed a piece of music descriptive of the
commencement of the disease, its progpress, crisis, and abatement, in-
tending it as a present to his physician (Dr. Granville) for the care and
attention he had bestowed on him. Though an abundance of lively
fancy is displayed in this, there is nothing in it at all extravagant or ridi-
culous : on the contrary, it is strictly en regie, and expresses, as well as
inarticulate sounds are capable of expressing sensations, all the variety
of feeling which would be experienced in the course of a long fever . . •
Under a French governess, and a tutor for Latin, his education is pro-
ceeding in the usual manner, music forming no part of it. His intel-
lects are quick, and declare themselves in a countenance remarkable for
intelligence and beauty. His hahits and amusements are suited to his
age, and the activity of his mind does not seem to have operated unfa-
vourably on his general health, which appears to be good, and as well
established as is usual with children of his years.'

Last winter this active-minded child composed an entire operetta*
L*Isola Disabitata of Metastasio, which it was intended should be pri-
vately performed last spring, but unavoidable circumstances occasioned
its delay. We could add much more to the preceding account, but
must now turn our attention to the duet before us. It is in f, one move-
ment, extending to eight pages, and opens with the following eight bars
of symphony : —

The style is rather Italian than German, and leads to a supposition
that the composer has been more accustomed to the school of Rossini
than of Mozart

There is a manliness in the annexed staccato base t)iat could not have
been expected from so youthful a pen : —

THE MUSICAL LIBRARY.

J. J1rLV.J3ii

■h

n n fi

o pas- tor.

HUUitMfii

J J J J JJJJ

# #

ir-1

One more passage will show the manner of the whole composition* So
extraordinary a case j ustifies rather copious extracts.

lento.

Ah I 81 che il mi - o,

xnlo Re tu

Ah! ti che cm - del -

che era • del ti-

fcwto.

f^ lT'irr^^^

1~1P

■ei Van • ne a re-gnai ben mi - o

Se ho da re-gnar ben mi

(io/.

1"^

8 3

M a^ fi - do a chi t*a - do

id aul tro - no an • CO

if^f=^ ^^ i Jl^ l^SMfc

-fr-''-^-^

The melody of the whole duet is natural and pleasing, and the accom«
paniments appropriate. In these are a few notes which an experienced
composer would not have used, but they will serve to convince the scep-
tieal, if any there be, that the author has had no professional aid in the
production of this work — a work which, from a child of eight years,
will hardly fail to be received with astonishment.

Waterloo, a Sang, composed for and sung at the Oxford Festival in
honour of the Inauguration of the Duke of Wellington; the poetry
by Sir Walter Scott, the music by W. Hutchins Callcott.
(Lonsdale and Mills.)

The composer modestly calls this a song; it is what the Italians deno*
minate a scena. It is not a cantata ; for, though consisting of recitative
and air, these do not alternate. We have, in fact, no name for a com-^
position of the kind ; and to describe it correctly are obliged to use two
terms. But, however designated, this is a clever work. Mr. Callcott
reads and understands the poetry he selects before he writes a single
note ; hence he is at least faithful to the author's meaning, and often
adds force to it.

The lines here chosen were written by Sir Walter Scott after viewing
the fields of Waterloo. The piece opens with a * martial introduction,'-
q. d, a march ; then follows a good recitative, leading to the air, which
is in two movements, the first slow, the second more brisk. The com-,
poser has had words to contend with that are not lyrical, but has
managed them well, and added to his reputation by the present publi-
cation.

The concluding symphony to this is a musical curiosity. The base
consists of the first eight bars of * See, the conquering hero comes ! *
Over this are placed another melody, and the accompaniments that arise
out of such melody. The air, now become the base, then so completely
merges in the added parts, that very few indeed, most likely none, un-
apprized of the circumstance, will have the slightest suspicion that the
well-known tune is, unaltered, going on. This is adroitly, done ; and»
considering it as an ingenious joke, we beg our readers to enjoy it.

^— g - ■ -gb

J=i

b=|±H>F=3^E

f^ /3

frs

jcszz::

In octaves.

3^^

i^*^

1. Camzohst, ' Tbey say that hope is happiness ; ' the poetry by Lord
SvaoM ; the muac by Jouit Thomson, Esq. (Chapp«U.)

2. Ballad. * Moonlight is sleeping o'er tree and tower ; ' written and
composed by Gborob Limlkt, Esq. (Chappell.)

8. Ballad. * Tibbie Inglis ; * the words by Mabt Howitt ; the music

by Leonard Hayne. (J. A. Norello.)
4. Bolero, The Bridegroom's return ; the words by William Ball ;

the music by Jos. Dessaxter. (Mori and Lavenu.)
b. Song, ' O tell me not of the open sea ; ' written by R Frankland

Evelyn ; the music by J. W. Davison. (Aidridge.)

THE MUSICAL LIBRARY.

6. PA|.Liu>, / The niffht is clotiw;' theuf&rds by Babrt Cornwall ;
ike music composedby S. W. Kettle. (Kettle.)

Thb very beautiful verses of Lord Byron have met with correspondinff
notes in the publication at the head of this list : a canzonet of so much
beauty, in whatever way considered, is rarely indeed met with. The
music is grave, for the words are serious ; and the accompaniment is as
fiill of meaning as the poetry is of thought But this is not a saleable
commodity; it will not be chosen off the counter; and unless it
becomes known to those who have a feeling for what is really good in
the art — of which, in the ordinary way of publishing, there is little
chance, without feeing some public singer — Mr. Thomson's reward will
amount to a reimbursement of his expenses.

There is an elegant ease in both words and music of No. 2 that will
recommend the bsdlad — for so we suppose it may be called, though the
author has sent it forth into the world without any appellation. The
melody Is agreeable, and the accompaniment, in the bolero style, easy.

No* 3 is simple, easy, possesses a good deal of musical character, and
is very likely to become popular.

No* 4 is a delightful specimen of Spanish music ; for from the title
we conclude that to Mr. Dessauer is to be ascribed the merit of ar-
ranging, not originating, the melody. It is stated to be an Andalusian
Bolero^ and its national features are as strongly marked as' pleasing.
The key is a minor ; but this imparts no sadness to the air, which, on
the contrary, is as full of gaiety as the words.

We seem just now to be in the region of bolero : No. 5 partakes
much of its character. It is also meant, we presume, as an answer to
Netikomm's *Sea,' — ^the one extolling the briny billows, the other
legarding them as little better than nuisances. The whole of this is
pleasant, but not so new as it is otherwise faultless.

No. 6 indicates no mean ability : the words are well set, and the har-
nony is good.

HARP.

BooRSA*8 MoaaTque Musicale, containing Introduzione^ CantabiUt

Marcia, 8fe. ^rc. (Mori and Lavenu.)

A DTsniianiSHED personage like M. Bochsa is naturally grandiloquent.
What we and other humble men would have called a Medley, he dignifies
by the term Mo$a%que Musicale. Thus, however, he may mislead such
as are in the habit of diving deep for the meaning of words, who
possibly will interpret this, mwic of wquare noies^ and thence infer
ancient church music; for, being able to trace no connexion between
mosaic and music^ they will suppose that the former is intended to
signify iessclated^ and that the term is transferred from stone and
marble to square semibreves and minims. Perhaps by some such process
of induction, but coming to a different conclusion, others may imagine
the word to have a moral signification, and that acting on the square is
thereby intimated. Be this as it may, the present is not the mosiaque
tntMcak which we once, and once only, mustered up fortitude enough to
sit through : that was half an hour long; ; this, consisting of only
sixteen pages, (price five shillings!) will not occupy above fifteen
minutes. It is written for the purpose of displaying the authors ' new
effects/ but the confusion of tongues, the crowd of strange marks,
and the novel characters introduc^, will, we should imagine, confine
the sale to the composer's own pupils, to each of whom be doubtless
will take it. If they are able to discover one new passage in the six-
teen pages, they will do more than, with all our diligence, we have been
able to accomplish.

WESTMINSTER FESTIVAL.

To the Editor of the Musical Library.

Sir,— It was surmised by Addison that, in the estimation of singers,
nonsense only is fit to be sung; and they seem to have been anxious
not to lose this distinctive character of their race from that time to the
present. It is only by reiterated exposures of those gross instances of
attachment to absurdity, which are too often occurring, that the evil can
be corrected.

Sometimes ft is not chargeable altogether on the singers, who have
ttot always an alternative ; but at other times they discover a decided and
sturdy preference for nonsense, which, to those who are not of the craft,
seems perfectly unaccountable.

Future generations will look at Clementi's edition of The Creation
with wonder ; and it will require no ordinary stretch of credulity to in-
duce them to believe, not only that such passages as the following were
sung, but deliberately adhered to, and preferred to a version which em-
bcKiied the phraseology of Milton. For instance : —

* See, flAihiDff through the wet, in thronged iwarmS|
The fiy ia thouMod ways around.'

At the late Festival, Madame Caradori declined singing ihe version
in the printed books, preferring the foUowing,^-

^ To leafy ▼suits are spread the intky groTes ;
The mountain's biow if croirn*d with doted wood.^

And Mrs. Knyvett, in the ,I>uet * Graceful Consort,* chose to salute tier
lord with these choice words (in what language it would Be difficult to
ascertain),

' Spouse adored, life and all / am, all /om ii thine.*

There is one word in the amended version of Neiikomm's edition, which
you think ought to have been exchanged for some other^ viz., * pens,'— ^

* On mighty pm« the eagle wings her lofty flight through air sublime.*

Perhaps it was retained because it is used by Milton in the passage
whence the German translator deduced the words of this song :—

' Feather'd soon and fledg*d, they sunn'd their pens;
And, soaring the air sublime/ &c.

I need not remind yoUy Sir, how common a practice it was with out
divine bard to Anglicise a Latin word in strict accordance with its ori*
nal sense. Another and similar instance occurs at the distance of a
w lines :—

* Rising on swift pennons, tower the mid aSrial sky.'

I think this authority sufficient to justify the retention of the wor^.

I presume the individuals who selected the pieces for performance at
the late Festival were ignorant of the meaning of those parts of the Mass
which were (I cannot say chosen, but) wrenched from their connexion. It
was not intended, I presume, to insult the head of our Protestant church
— ^the Archbishop of Canterbury — and the Dean of the Abbey, by a hymn
in defence of transubstantiation; but what excuse can be offered, save the
plea of ignorance, for beginning detached and insulated pieces thus? —

* Et incamatus est,' ftc

' Quoniam tu solus sanctus,' kt*

* Qui tollis peceata mundi.'

These blunders deserve notice, inasmuch as they tend to countenance
an opinion which bigots and fanatics are widely propagating, — ^that
musicians, as a body, are utterly regardless of decency, propriety, and
even common sense, in the words they sing. There is no need to put
weapons in the hands of such persons ; rather let everything that gives
reasonable offence to any serious and reflecting mind be carefully ex*
eluded. The intellect and the affections should be addressed by Such a
performance, and not the ear alone ; for the art, when exercised by men
of understanding, has more influence than ia generally supposed :^-

* Such sweet compuUion doth in music Xvt,
To keep unsteady Nature to her law,
And the low world in measur'd motiod draW '
After the heaTenly tune, which none can hear,
Of human mould, with gross unpurged ear/

AufuU 3rd, 1834.

A Looker -ON*.'

BIRMINGHAM FESTIVAL.
To the Editor of the Musical Library.

Sir, — ^Your polite but unflinching exposure of the inability of those
who are responsible for some of the music selected for performance iik
Westminster Abbey, has won you the goodwill of numbers in this town
and neighbourhood'. We could only have believed on good authority,
that a set of noblemen and gentlemen of rank would have suictioned
that which showed so little musical jud^ent, and— what is of infinitely
more momentF— so much disregard of ue religious opinions prevalent in
Great Britain.

The want of knowledge betrayed in the selections is lamentable
enough, but as this has l^ to Uie preaching up, in a Protestant country,
of an abominable doctrine of the Church of Rome,, silence, which pro-
verbially ffives assent, would be criminal. In the name, then, of, I
may say, hundreds of reflecting people in this county, I thank you for
having called attention to the admission of this doctnnb of transubstan-
tiation, in what may be considered the chief church of tlie metropolis—
the sacred edifice wherein our kings are anointed, and which the second
branch of the legislature^ the Peers, consider their own;

Some may exclaim * This is a inere sing-song aff'air !' but I beg leave
to remind such persons, that a very wise man once said, ' If I have the
making of the songs of a country, I care not who makes the laws.'

Your remarks on the Hallelujah -chorus are convincing to every maik
of sense : I hope they will be in time to prevent such an error frond
spreading. We shall not, I trust, be guilty of any childishness of this
kind at our next festival. '

I am. Sir,

Your obedient servant,

A WARWicasHiRE Mai^*

Birmingham, Jug. ISth, 1834.

THE MUSICAL LIBRARY,

PORBIGN MUSICAL REPORT.

VIENNA.

SsMoinLLB MAscnniKA Schneidbr bag made her appearance at the
KSmthnerthor Tktater as Ronna^ in Ber Barbier^ eliciting univenal
•npUnie. Ka^Umeister Pott, from Oldenburg, hu been in Vienna,
flaying in yabuc, on Tarious occauone, on the YioUn«

BERLIN,

Tlie performances of Madame Schroeder Devrient, at the Court
Theatre, have been numerous of late : she has appeared as SUUirc^ in
SpontiniVO/ympta; as Julia^ in Bellini's Montecchi und Capvleii; as
]Athecca^ in Marschner's Der Templtr und die Judin; Donna Anna^ in
J>on Juan; Jsabelta^ in Robert der Teufel; and as EuryanOte. Her
acting and singing was exquisite in all these characters, but the most
enthusiastic applause was bestowed upon the last. At the KonigsilUdter
Theater Madame de Mdric continues her performances.
• A concert has been given by M. G. M&rtens, at which was played a
Tery pleasing overture of his composition ; and M. Albert M&rtens dis-
played great execution on the violin.

' M. Julius Rietz leaves Berlin for Dfisseldorf, where he is appointed
Music Director to the theatre.

LEIPZIG.
The recent perfonpances at the theatre here have consisted of Euryanthe^
l>ie Montecchi und CapuUti^ Hans HeUing, and Robert der Tevfel,

At the fourteenth and last concert of the Euterpe was played the
overture to Die Braut von Messina of Fr. Schneider. On this occasion
also were given, for the first time in public, the overture, and a hunting
chorus and finale, from an opera by the music-director of this society,
M. C. I. MttUer, beanng the tiile RUbezahl, which, if this portion may
justify an opinion, is likely to prove very successful. Beethoven's Sin-
fonia Eroica was also very effectively played. The solo performances
were a polonaise of Jacobi for the bassoon, by M. Kretschmar ; and a
concertino of Karl Mayer for the trombone, played with delicacy and
anuch feeling by M. Fritzsche.

The Subscription Concerts have also terminated for the season, the
last being one of the most brilliant. Beethoven's symphony, No. 9,
with introduced chorus, was executed with admirable effect; a MS.
cnrerture of M. MOller called forth great applause ; and M. Kulenkamp's
performance on the pianoforte was highly gratifying. Demlles. Furst
and Gerhardt Were the principal singers.

A tolerably successful concert, notwithstanding the unfavourableness
cf the season, was given on the 24th May by the blind flute>player
M* Berkenbusch, a pupil of Fiirstenau.

An oratorio in two parts by M. Th. Weinlig, Die Feyer der Erlosung
(The Festival of the Redemption), a work of great merit, admirably
Conducted by the composer, produced a favourable impression here.
Beethoven's Christus am Oelberge (Christ on the Mount of Olives) has
also been given under the direction of M. Aug. Fohlenz, with the com-
fnned strength of the members of the Singakademie and the Thomaner-
chor, supported by some of the theatrical vocalists. On this occasion
#ilso the Kyrie and Gloria from his Missa Solemnis were given for the
first time here.

MUNICH.

¥i u production of any importance has been brought forward at the Opera
tince the performances of Robert der Teufel^ notwithsUnding the effi-
dency of the company at present at the command of the Direction.
The Prime Donne are — Mad. Schechner Waagen, of the benefit of
Hrhose talents, however, indisposition has for some months past deprived
the thentre ; Mad. Spizeder, possessing a powerful voice and depth of
fiseling ; and Mdlle. Von Hasselt, a young singer modelled in the best
modem Italian school by Romani of Florence, with a fine voice^ neither
however very powerful nor of great compass,' whose excellent upper
cctare amply compensates for less jfullness of tone in the lower notes,
and who, as regards finished style and correct taste, leaves nothing to be
desired. The Seconde Donne are : Mad. Pellegrini, a very goo^ con-
tralto ; Mdlle. Fuchs» a most desirable soprano ; and Mdlle. Daisen-
lieder, a soprano highly gifted by nature, who, with assiduity, may expect
to become a very useful Prima Donna. The principal tenor is M. Bayer,
with a fine voice and deep feeling, and of a good school. The other
tenors are — ^M. Schimon, a very useful singer in comic operas ; and M.
Smidt, a young man of no great pretensions or promise. M. Pellegrini
is the first base ; his voice is of the finest and most sonorous description ;
bis style good, and his singing very expressive. Other bases are —
}/[. Mlttermayer, once a distinguished singer, but now on the wane ;
M. Standacher, also manager of the Opera ; and MM. Fries and Lenz,

PRAGUE.
The only operatic novelty of late has been Donizetti's Jnna Bolena^ in
the German language, the libretto being translated by Karl Baron von
Braum; the parts of Anna and Johanna Seymour were sustained
fespectively with great spirit and ability by Mdlle. Lutzer and Madame
Podhofsky, who, however, were but tamelv supported by Mdlle. Gned
and MM. Strataky, Dnka, and Ilbier. The opera, on the whole, pro-
duced bm little effect*

The usual concerts of the pupils of the Conservatoire of Music have
been given this year without exciting so much interest as they have
hitherto done. This is attributed to the premature production of the
compositions of the pupils, some of them being first attempts only»
creditable enough perhaps as such, but improperly played in public, a«
their performance is seldom likely to afford real pleasure to the hearera,
while it may prove a source of positive harm to the young composer,
who, overwhelmed with encouraging bursts of approbation, and eveq
called forward to receive the dangerous applause of tlie audience, foy
which he is indebted to his youth rather than the excellence of hia
composition, is not unfre^uently led to overrate his abilities, and bej
lieve he has already acquired what can only be gained by continuea
and persevering application,

A concert has been given here by Professor Buschmann and his son,
both playing on the terpodion invented by the father, an instrument
better calculated for church than chamber music, the quality of its tone
being a medium between the organ and the musical glasses. The per-
formances of both might have afforded greater pleasure, if the pieces
which they played had been of a more important character. Mdlle;
Lutzer sung an aria from Bellini's Norma with- triumphant success, and
Die Nacht (Night), an aria with chorus by Thomascheck, sung by
M. Strataky, and accompanied by the pianoforte, which alone consti*
tuted the orchestra, closed the evening's entertainment.

DRESDEN.
A very excellent concert was recently given here by M. Franz Scha«
bert, whose performances were a Concerto of Lafont's, and a Fantasia,
upon subjects from Le Prh aux Clercs; he is stated to have sacrificed
much of the originality of his style to a desire to imitate Lafonti under
whom he has been studying in Paris with great assiduity.

HAMBURG.
The opera of Ludovico, by Herold and Hal^vy, has lately been given
here, experiencing, as has been its fate elsewhere, but an indifferent
reception. Der Bergmonch (the Mountain Monk), by Wolfram, on the
other hand, proved exceedingly attractive. In this opera Mad. Rosner
sustained in a very admirable manner the character oiFrannaca; and
the part of the Inspector was sung and played with great effect by M.
Woltereck, who was no less successful as Mephistopheles in Spohr^s
Faust, in which Mad. "Stalker distinguished herself as Roschen, M*
Haitzinger also, who has lately been here, elicited well-merited applause.
Concerts have been given by Mesdames Ostergaard and Fonseca,
from Copenhagen; M. Schaller, on the harp; the young and clever
violinist, M. Simonsen, from Jutland ; the brothers Ganz and BrOckl ;
and the tenor singer^ M. Egersdorf.

STETTIN.
M. Wild, who is engaged here for a series of representations, appeared
for the first time as Fra Diavolo^ and experienced a most gratifying
reception.

BERNBURG.
A great improvement has taken place in our subscription concerts^
under the aole direction of M. Klauss. At the concerts of the past
season, ^ye in number, were played three symphonies of Mozart, one
of Beethoven, and one by M. Klauss, a composition of a masterly
description. The overtures were those to Don Juan, Oberon, Frey^
schutz, Johan von Paris^ and one composed by Fr. Schneider. The
concerts were comparatively poor in point of vocal music ; the most
prominent vocal piece- was a composition of M. Klauss for four male
voices. The instrumental solos, however, were good. M. Klauss's
execution of Kalkbrenner's brilliant rondo, * Gage d'Amiti^,' Hummd'a
concerto in a Minor, and Beethoven's fantasia with full orchestral
accompaniment and chorus, was excellent. M. Drechsler, of Dessau,
on the violoncello, the brothers Fischer on the violin, MM. Bosse on
the flute and oboe, and M. Wfistenhagen on the clarionet, displaye4
their talente to great advantage.

ELBERFELD.

On the 1st of June, Bemhard Klein's Oratorio, Davids was excellently
performed here ; the orchestra playing with energy and precision, the
choruses being sung in an impressive manner, and the solos justly
meriting the warm applause with which they were reoeivedL

GRATZ.

Auber's opera, Der ScAirur oder die Falschmiinzer (Le Serment, oa
les faux Monnoyeurs) has considerably enriched the treasury of the
theatre, having been frequently performed to full houses.

JENA,
Tlie subscription concerts here have given great satisfaction; the
symphonies, which were executed in a highly creditable manner, were
by Mozart, Beethoven, Haydn, Kalliwoda, Onslow and Fesca; and the
overtures were Nero, by Reissiger, Spohr*s Berggeist^ Caraffa*s MasO'
niello, a new one by Kalliwoda, and Hans Heiling and Homburg by
Marschner. M. Montag, firom Weimar, played a concerto of Beethoven,
and bravura variations by Pixis, with intensity of feeling and finished
execution ; and M. Apel, also from Weimar, played a very pleasing

divertimento of his own composition for the violoncello, in a most
inasteriy manner, and a conceito of C. Weher was executed by M*
Aghthe with very correct expression. There were other solo perform-
ances, by M. Schubart on the flute, M. Kochstein on th^ bassoon, M*
Hfittenruich on the oboe, and M. Stoer on the violin, all of them mem-
bers of the Royal Chapel at Weimar. The vocal musu; was not inferior
to the instrumental. Demoiselle Schmidt, from '^enna, sang delight-
fully ; Demoiselle Haser was likewise deservedly applauded ; and Uie
feffinrts of MM. Schorrmiiller, Kerliug, and Genast, afforded much
pleasure; the ^oruaes were very satisfactory.

' There have also been other pleasing concerts, at one of which the
bothers Eichhom played.

' The Vocal Sode^ is making gratifying progress under the manage-
ment of its very able and zealous Directors MM. Kemmlein and Weber.

MORGES.

M. Andre Spaeth, the talented and esteemed Director of the Musical
Society^ leaving Merges last autumn, he was succeeded by M. Joseph
Schad, twenty-two years of age, under whose judicious management tAe
winter concerts took place ; the selections, and the manner in which the
music was given, reflecting great credit upon him. The principal singers
were Demoiselles Wamery, and Louise and Eliza Jaen, and MM.
Couvreu and Hochreutiner.

ZURICH.

The symphonies at the Concerts, ten in number, of our Musical Society,
have been two only, namely, Beethoven's Fsstoral Symphony, and
Mozart's in C; the overtures were by Beethoven, Mozart, Rossini,
"Kalliwoda, Boieldieu, Anber, Herold, Caraffa, and Schneider. The
instrumental solos were numerous ; among them were a concertino by
Hummel for the clarionet, played by M. Ott-Imhoff: concerto and
variations by Lafont and Kalliwoda, executed by M. von Blumenthal :
a concerto of Uummei for the oboe by M. Sprungli: a violin concerto
of Moiique by M. Edele of Stuttgart : a concerto of Weber for the
pianoforte by Mdlle. Hagenbuch, and variations of Dfouet for the
flute by M. Duscheck. Tlie principal vocalists were Madame von Blu*
menthal, Mdlle. Hardmeyer, and MM. Schuster, Espenm^Uer and
Baumann, whose efforts were equally meritorious and successful. Some
compensation for the sparing supply of symphonies was afforded by
the execution with full chorus of Haydn's splendid mass in C, Mozart* s
hymn No. 1, and a sterling sacred composition by M. von Blumenthal,
who for his benefit concert selected Beethoven's Fidelia^ the execution
pf which, without the aid of scenerv or other dramatic auxiliaries, gave
such delight that its repetition at tne Subscription Concerts was called
for unanimously. MdUe. Hardmeyer sang the part of Fidelio exqui-
sitely, and Florestan was given very effectively by M. Baumann.
These delightful musical performances terminated on the 15th April
with Haydn's Creaiion^ the solos being admirably sung by Madame
von Bhimenthal, Mdlle. Hardmeyer, and MM. Baumann and Schuster.
During the whole of the season there have been but two extra concerts,
by two of the members of the Royal Chapel in Munich, M. Faubel, a
clarionet player of some celebrity, and M. Menter, a violoncellist (rf
established reputation, the former playing compositioBs of his own and
of Stunz and Reissiger with uncommon delicacy and mastery of his
instrument, the performances of the latter also affording great delight.
On this occasion a talented young violinist from Munich, M. Mitter-
nayer, pupil of the Conservatoire at Paris, gained much applause by hia
superior perf<Mrmance of some variations by De B<Jriot.

MILAIf.

Madame Malibran appeared on the 5th May in Bellini's Norma with
{extraordinary success, this being the first of a series of twelve perform*
ances. She has also concluded an engagement with Duke Visconti,
manager of the Teatro della Scala, at 450,000 francs for 185 perform-
ances, namely 75 in the autumn and carnival seasons 1835-6^ 75 in
Ae same seasons 1836-7, and 35 in the autumn 1837.

NAPLES.

Here, too, Madame Malibran has been received with enthusiasm. At
a representation of Norma, in the presence of the court, besides being
tinusually applauded in the course of the performance, she was called
forward ten times at its conclusion. Madame Malibran's engagement
here is 80,000 francs and two benefits and a half for forty performances.

ROME.
Madame Malibran gave a concert here on the 18th March, for the
benefit of a family in a state of extreme indigence, which realized for
them the sum of 600 pieces of gold.

PARIS.
•The ci-devant Thedlre des Nouveauten^ which is now appropriated
to the performance of the comic opera, has been converted, in the short
space of twenty days, from a dull and gloomy place into a beauti-
ml and very pleasing theatre. The first represeatalicm was Auber's new
opera Let/ocg, which appears to have had a greater share of case and
uttention devoted to it than most of his latter operas ; report speaking
Ughly of the overture, the first chorus, a drinking songt the finale to
^e second act» a duet in the thhd» and a chorus in the &)urtk A new

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opera, by M. Labarre, 3%« Mii^hipmmti waslese'soeeessful, the com-
poser's tilent being adapted to the composition of romances rather than
of operas. Madame Casimir and M. Ponchard sang in the opera.

BRUSSELS-

M. y. PeUaert's new opera, FauMt, the text by Th«bnkm of Paris* haji
been produced here. The most attractive parts vere the finale of the
first act, and a trio and the finale of the second. M. ChoUet as FduU^
and Madame Privost as Margaret, acquitted themselves admirably.

AMSTERDAM.
On the 32nd Mareh a novel experinenl was tried here, namely' the
performance of a Duleh opera; the composer, J. van Bree, and the poet^
L van Lennep, being both Dutchmen. The opera is entided S^Ao ; it
was very fiivourably received.

RUSSIA.

Kapellmeister Louis Maurer, accompanied by his two talented sons,
lately left St Petersburg for Moscow.

M. I. B. Gross left Dorpat in March, on a professional journey to Reva^
Riga, &c. In the former place his first concert was but thinly attended, in
consequence of his being mistaken for a musician, of the same pame who
had been there shortly before him ; his second concert, however, for the
benefit of the poor, was over^crowded. He played two of his latest
concertos, a capriccio of his own composition, and some variations by
Romberg.

[A short account of some Foreign Musical Festivals will be given in
our next.]

THE DRAMA.

Kino's Thbatrk.

Our last Number having been almost entirely occupied by the Festival
in Westminster Abbey, which claimed precedence oi all otlier matteri
we had not a single line to snare for this or any department, save that
devoted to the contents of the current Part Had it, however, been
otherwise, the King's Theatre woukl have supplied us with nothing
worthy of notice. After Easter M. Laporte contrives to obtain good
performers firom the Italian Opera at Paris ; then does not know how t^
employ them. Year afUr year we have the same operas, sometimeg
well got up, sometimes ill, but generally wearisome firom frequent repe«
Ution : occasionally with a principal character omitted, and not unfre?
quently with half, or more, of the best pieces left out, because Madame
That or Signer T'other either is not paid, or completely incapacitated
by singing at other theatres or at concerts ; M. Laporte always taking
a considerable portion of what the performer receives for being rendered
unfit to do his or her duty at the very place for which he or she ought
to be reserved.

VAiHdio di Corinto continued to be occasionally given till the end
of the season ; and La Sonnambula was, amongst other things, per<<
formed, in which Mademoiselle Grisi at first shone no less brightlv than
she had done in every opera in which she had a part But at length
she began to exhaust from the fatigue of singing elsewhere, and, natu-
rally enough, to grow discontented from irregularity in the naymeni of
her salary ; so that sudden changes, disappointments, &c., became the
order of the night ; and the theatre closed on the 12th of last months
leaving most of the performers dissatisfied, not without sufficient cause;
the public displeased, with abundance of reason ; and many writers for the
press extolling the manager f(M: his ability, activity, and liberality.

English Opera House.

At length this interesting theatre has started up out of the ruins which
the public have so long deplored. The difficulties of many kinds thrown
in the way of its re-erection made (is begin to fear that it had falleil
never more to rise, and that the Paul Pry order of writers would lose
the glorious opportunity of displaying ttieir eloquence by comparing it
to a phoenix. However, thanks to the determined perseverance of Mr.
Arnold, and the skill of Mr. Beazley, it has not only appeared ono6
again, but in a much more beautiful and perfect form tlum it ever before
assumed, and with a prospect of not cmly fully indemnifying all who
have embarked capital in it, but of amply rewarding the manager for his
active and enterprising spirit, and, what is of more importance than alt
the rest, of bringing into the field composers who may rescue English
opera from the degraded state into which for years past it has fallen.

The new theatre was opened on Monday, July 14tb. On entering
it we were immediately struck by its beauty, with reference both to
form and decorations. Everywhere is convenience combined witli ele*
gance. The audience part of the house is in the horse-shoe form. There
are two full tiers of boxes, and at each side of the gallery axe what maj
t>e termed box-shps. There is only onegaUery, hut this ia capacious and
comfortable : no part of the house is better contrived for seeing and
hearing. The front of the first circle of boxes Js onuunented with »

HIE MUSICAL LIBRABYi

•eries of clMetod 6»1i}€cts, p^ieiUed cm a light gnmnd. The Becond
mcle i$ deoorated witii imitations of shawl drapery, which are rather
too warm, as well as somewhat heavy, but thesd are immediately to be
altered, and ibe dee^ crimsoi^ to be changed to a fawn colonr. The
boxes of the first circle, in -the centre of the house, which are all sepa-
lately enciosetl, are thrown back, and before them a balcony is formed,
two seats deep; fitted ilp with stalls, and haying an open gilt balustrade
la front. An additional shilling is put on these seats, which certainly
are exceedingly convenient in all respects, though, we fear, they will
prevent the boxes behind from letting, except on very particular occa-
sions. Imitative balustrades, of a pale rose hue, relieved with gold,
extend ronnd the box^slips and galle^, giving a very delicate finish to
the whole. . Six slender fluted Corinthian columns, in white and gold,
support the boxes and gallery, adding, as much to the beauty as to the
security of the house. The ceiling is handsome ; it is concave, and
divided into compartments, ornamented with musical symbols, and ren-
dered more interesting by the introduction of medallions of several
eminent composers. From the centre of this hangs a splendid lustre,
lighted by gas. The proscenium is light, and tastefully ornamented in
the Italian style. In the centre of this the King's arms are placed, on
the right and left of which chains of flowers are introduced, and from
these medallions of Mozart and Weber are suspended.

The principal entrance to the boxes is extremely handsome. From a
grand portico of the Corinthian order is an entrance to a small, but
well-proportioned hall, where the broad flight of steps on the right and
lefi have a bold efiect. Ascending these, the visiter finds himself beneath
Boman arches, ornamented with roses in compartments. Under these
arches is the corridor, connected on one side with the dress-circle, on
the other with the saloon — ^a small, but pretty room, far removed from
the audience. The pit is large, and part of it extends under the balcony.
The house, when filled, will hold three hundred and sixty pounds.

During the first week some old pieces were performed ; but on the
Slst of July a new opera, written by Mr. Arnold, and composed by Mr.
£. Loder— being the first essay of the latter — was produced, under the
title of Nourjahad^ which is thus cast :

Sehemxeddiny SvMBXi otVvnoM, Mr. Wilson.

JSomjahad^ his friend « • , • • • • Mr. H. Puilups.

Ha9em, attendant on Nourjahad • • • • Mr. Keelsy.

Jinan, a Slave Merchant • • • • • Mr. J. Bulkd.

^arAa</<iii}c, personating a Genius • • • • Miss Notbllo.

fifandane. Wife of Nourjdiad . • • • • Miss Fanny Hbalt.

Zuiima ••••••••• Miss £. Roicut.

Fatima •••••••• Miss Hunt.

Under the title of lUunon^ or the Trances of Nourjahad^ this drama
was brought out at Drury Lane Theatre, in 1818 ; the music by Kelly.
It was attributed to Lord Byron, who having denied it, Mr. Arnold was
discovered to be the author. The story is that of Mrs. Sheridan's beau-
tiful novel, and may be thus told : — Nourjahad is under the influence
of a burning desire for inexhaustible wealth and immortality. His
friend, the Sultan, in order to bring him to reason, causes Barhaddan
to appear to him as a powerful Genius, who presents him with the key to
a cave of boundless treasure, and with a liquor, the smell of which
confers immortality : accompanied, however, with the condition, that
should he violate the laws of the Prophet, he will be subject to trances.
His first crime, intoxication, is soon committed. Awaking, at the
commencement of the second act, he is told that he has been in a trance
during four years, and that his Mandane is no more, having died in

fiving birth to a son. He consoles himself with his favourite slave,
^utima. His second offence is cruelty, in refusing to allow Zuiima
to return to her anxious and entreating father. Again he goes to sleep.
When he once more awakes, all seems changed : he is made to believe
that he has been forty years entranced-— that the Sultan and all his
friends are dead — and that his son lives to execrate his memory. A
scene now ensues of considerable interest : Schemzeddin personates the
son of Nourjahad^ and Mandane is presented to him as his grand-
daughter. His suffering is great, his repentance sincere, and he is
sufficiently punislied. The truth, therefore, is revealed to him ; he
obtains the forgiveness of every one ; and all ends in the usual manner
0f Operas.

In an Eastern tale, probability, of course, has no share ; bat, allowing
for this, the story is well dramatized, the language is good ; and though
the dinouemeni is from the very beginning anticipated, yet some degree
of interest is kept up to the end.

The music highly gratified, and not a little surprised us ; except the
overture, which we pass over without further notice. £very piece in the
opera is calculated to please both those who are and those who are not
qualified to judge it critically. Originality is, undoubtedly, not the
dnef characteristic of many of the composer's designs ; but after the
imitations, the plagiarisms, that we have been accustomed to hear on
the English stage, the reminiscences met with in Nourjahad should be
treated with lenity. This much we may safely assert— 4hat whaSever
Mr. Loder is i^debted for, intentionally or not, to certain popular
composers, has been ^fveatly ameliorated in passing through his hands ;
for even when the subject does betray some resemblances, Mr. Loder
has treated it in so original, so elegant, and so masterly a manner, that

evBry posrible allowance should be made for what perhaps has been
rather the result of haste, than of a wilful determination to appropriate
to himself that which of right belongs to others. Indeed, thb imitations
or likenesses that we trace are more general than particular — ^more in the
style than in the notes : though it cannot be denied, that in two or thre^
instances the composer has used motivi which, on deliberately re^
hearsing, he might easily have discovered to be, strictly speaking, not
altogether his own.

In our next, Nourjahad will come under Review : we therefore abstaifi
at present from particularizing any composition ; but will not quit the
subject till we have done Mr. Loder the justice to declare our admira-
tion of his instrumentation throughout. This shows not only a fins
taste and vast knowledge of effect, but great invention— -that is to say,
real genius.

As a whole, the opera was exceedingly well performed. Mr. H.
Phillips was, as he always is, excellent ; Miss Healy and Miss Romer
both sing in tune and in time, have nothing at all vulgar in their
manner, and their voices are agreeable : these are qualities for which,
when the music is good, we would gladly compound. Mr. Wilson
acted his part well — better than he sang it. His voice is much in his
favour ; but his style wants refinement. The orchestra did its duty in a
most perfect manner ; and every praise is due to the choral department.
The piece is got u|> with a liberality which, we well know, tells in the
end, but must have brought serious demands on the funds of a young
treasury. Its success has been of the most decided kind ; and it is our
belief thvLi Nourjahad will not be known to only the present generation.

EXTRACTS FROM THE JOURNAL OF AN AMATEUR.

July Ath. The Festival in Westminster Abbey has so entirely engrossed
all conversation allotted to musical matters, and whatever relates to that
celebration has been, of will be, so completely discussed in every publi-
cation of the day, to the exclusion of everything else of the kind, that
little is left for the tablets olf an amateur, and not much will probably be
supplied for some time to come. OF the four performances I shall
briefly observe, that, judging from what I have heard and seen — though
the excellence of the band, and the highly perfect state of the chorus
(thanks be tQ the provincial musical societies !), were felt and are ad-
mitted by all — expectation was, generally speaking, disappointed. The
directors did not take care that a musical committee equal to the task
was appointed. To this must be imputed nearly all the errors that are
complahied of with so much justice.

-—The pupils of the Royal Academy of Music had a morning con-
cert this day, at the Hanover Square Rooms, in which they were assisted
by Mdlle. Grisi, Mrs. Knyvett, Mrs. Bishop, Signers Rubini, Tam-
burini, &c., and Mr. F. Cramer led the band. A new anthem, * Plead
thou my cause,' with full orchestral accompaniments, composed by Lord
Burghersh, was performed for the first time, and afforded another
proof of that accomplished nobleman's very superior skill in the art.

Sih. The Knight of the Single string is accused of an attempt to
carry off a single lady of sixteen : a married one or a widow would have
been too wary to be uTought on by such a beau. At all events the story,
true or false, will make as good a subject for the fiddle as the ' Friar's
prayer,' or the *' Witches' dance.' Tliere is an air, in No Song, no
Supper^ I believe, to which the adventure might be set. The melody is
extremely pretty : the words, slightly parodied, run thus : —

She*8 sweet sixteen, I*m three times more,

And yet she b too young, they say ;

But I know better, sure, than they.
Youth should be coujpled with three-scoie.

And I made haste to tell her so.

Aad then we whispered soft and low !-»
But now, oh grief! her charms I ne'er shall know I

The following is the account of this attempt at gallantry, as published
in the Observer of to-day. If not. true, I cannot say that it is ben
trovato,

* Paganini, strange to say, is charged with having induced Miss Wat-
son, aged 16, to elope with him to the Continent. Mr. Watson has
been professionally associated with the fiddler for some months, and they
lived in the same house. He had made Miss Watson presents in dia*
monds, &c., valued at S50/. ; and on the 26th ult. he left town in the
Dover mail. The young lady secretly left home on Monday morning,
and her father, suspecUng she was withdrawing from his protection, fol-
lowed in the instant, but could learn no traces of her at any coach-yard
in London. He proceeded to Dover, and there he ascertained that
Pag, had gone to Boulogne to await her arrival. He followed ; and
having obtained the assistance of the British Consul (Mr. Hamilton),
when his daughter arrived in a steam-boat on Tuesday night, she was
secured and restored to him. Mr. and Miss Watson returned to Dover
on Wednesday^ She says tbey were to be married on their arrival at

THE MUSICAL LIBRARY.

Paris, and he agreed to settle 4000i. a year on ber ; and she still thinks
lie will claim her as his bride/

Four thousand a year ! to secure which no less than one hundred
thousand pounds must be invested ! — a pretty good sum to scrape to-
gether ! But young ladies of sixteen easily deceive themselves. It
appears, then, that Miss Watson was stopped in her flight ; Signor Pa-
ganini, if the story be true, was stopped in his attempt ; so, naturally
enough in a case in which the Italian played first fiddle, the finale ex-
hibited a double-stop.

Slh. After the rehearsal of The Meuiah at Westminster Abbey, on
the 80th ult., advantage was taken of the presence in town of so many
good provincial professors, and a dinner was got up at the Freemasons'
Tavern, at which about 250 persons assembled, and enjoyed a social
xepast: but the chief purpose of the meeting was the performance of
madrigals, together with a few pieces of sacred choral music. Of this
number, upwards of two hundred, including nearly all the best vocalists
in London, took a part, with an effect that can hardly ever again
he produced, and will be remembered while any one of the party
survives. Sir John Rogers, Bart., took the chair. None but a man
of his wit and tact could so well have managed such a body of people,
all in high spirits, determined to deliver themselves up to enjoyment,
and very unwilling to be controlled.

This meeting originated with Mr. Hobbs, the sweet tenor singer,
who was as successful as indefatigable in accomplishing his object.

The following compositions were performed : —

1. < God is gone up* (Anthem) • • Croft 1724

8. ' Draw on, sweet ni};ht' • • • Wilbye 1609

3. < All creatures now are menr-minded* Bennet 1599

4. 'Fire, fire' . . » Morley 1597

b. * Sanehu And G/oria Pa/ri • • O. Gibbons 1600

6. 'Downinaflow'rvTale' « • Festa 1541

7. * Sweet honey-sucking bees' . • Wilbye 1609

8. < O I clap your hands* (Anthem) » Greene 1734
[ 9. 'Dainty white pearl' • « Bicci 1580

Finale, *TheWait^

SaviUe.

l\th. The papers have killed our great singer! The cholera is
stated to have inflicted this injury on us ; and a morning paper of to-day
gives the particulars of his death, and of his life. But Mr. Braham,
after all this, instead of quietly submitting to the ceremonies of a decent
interment, was actually seen conversing with the Master of the Ceremo-
nies at Cheltenham ! A dead man stalking abroad in open day was
surely a misdemeanor, though I cannot exactly point out the statute
under which it may be punished. But, joking apart, as he was in sound
health at the time, he would not be very much shocked by this para-
graph ; and he must feel much gratified by the universal regret it excited
till the contradiction appeared.

16^ The Spedaior of this day, speaking of the receipts and expensea
of the Royal Musical Festival, pledges himself for the accuracy of tho
fpUowing statement : —

12^.' The Chevalier NeQkomm's oratorio Davidy composed for the
ensuing musical festival at Birmingham, was rehearsed this morning at
the Hanover Square Rooms, with a small instrumental and choral band.
It would be rash to offer an opinion of a work of this magnitude on a
first trials and performed by so inadequate a force ; but I may run the
risk of saying, that I shall have much deceived myself if this work does
not prove the chef-d^teuvre of the composer, and serve for future times
as a distinguishing mark of die meeting for which it was written.

18^. After reading the following musical intelligence, from the
Wachter (Watchman), a Swiss newspaper, our grand festivals in Eng-
land sink into insignificance. At the great musical festival which has
recently taken place at Sulgen, a town in the canton of Zadch, the
number of performers, vocal and instrumental, exceeded 1000. The
Choral Society of Thurgovia ak}ne furnished 700 of the number. Among
the audience attracted by this interesting meeting were the Queen Hor-
tense and Prince Lucien Buonaparte.

Aug. 2d. In the Atkenaum of to-day I find the following observa-
tion : — ^

* A recent addition to the number of the members of the Philhar-
monic Society has recalled to us^ by contrast, the circumstances of the
black-balling of Afoscheles. Have the electors any standard for admis-
sion or not ? or do matters go by demerit ? These things require re-
vision.'

The Philharmonic Society is, I fear, fast approaching that state in
which it will no longer be useful ; perhaps mucn the reverse. Canvass-
ing for the office of director is a baneful practice ; it introduces very
inadequate persons : and procuring the election of members by the same
means is still more injurious, by bringing in those who have no claim,
and excluding others that ought to be admitted, who would prove higlily
serviceable, but cannot stoop to solicit votes. In truth, the Society is in
great danger of becoming a rank job.

Receipts (in round nombert)
The piofiti are •

iC22,000
7,600

Therefore the ezpensei most have been » iS14,40O

Such an expenditure certunly is enormous, especially when compared
with the accounts of the first commemoration of Handel, and of the
many Festivals which have during the last two years taken place. The
writer uses strong language on the occasion ; but it will be difficult to
refute his arguments. However, it is but hxi to wait for the official
statement, which ought by this time to have been published.

20tk, A gentleman who left Birmingham yesterday speaks in very
extraordinary terms of the new grand music-hall just built in that opu-
lent and important town. Tlie dimensions, as to length and breadth, of
this saloon are nearly Uie same as those of the nave of Westminster
Abbey ; but, beinff without columns, will contain more persons. The nevr
organ was erected, and some of the largest pipes were placed. These«
my informant tells me, can only be described as well-tuned thunder. The
instrument itself is the largest, by &r, in Europe ; and its power is even
more vast in proportion than its size. This festival bids fair to much
surpass that which has recently been celebrated in London ; in point of
selection, its superiority will be beyond dispute. And there can ne little
doubt that the four hundred performers engaged, including all the iliie
of the London orchestras, will produce mucn more efifect in such a hall,
with noUiing to damp; the sound, than six hundred did in the Abbey,
where they liad to contend against a deadly foe, * floating many a rood,*
disguised as thick crimson baise.

2drtf. The meeting of the three choirs is this year at Hereford, and
commences on the 16th of the present month. * That, in many respects/
says the Spectator of this date, * it will exceed the Royal one, we have
no doubt ; for a gentleman of the name of Wesley is the conductor—
by birth and education disquidified for having any predilection for
musical trash ; but the superiority of the Hereford meeting must be
sought in the quality of its music, and not in the quantity of its band,
which has rarely exceeded 150. The next Festival, which also will be
on a limited scale, is that of Hull, conducted by Sir G. Smart; and this
will be succeeded by one at Aberdeen, under the direction of Messrs. T.
Cooke and E. Taylor. In the following week (t. e, the 7th, 8th, 9th,
and 10th of October,) the long-expected Birmingham Festival Uiken
place. • • • • It was at Birmingham that the attempt was made to
assemble [in a provincial town] a first-rate band for the production of
sacred classical music. • • • • The Chevalier Neukomm's oratorio
of David is the great novelty of the meeting ; and it will be produced
under every advantage. • • . • The Birmingham choral phalanx
will take the field in a state of excellent discipline. . * • « David is
his hero, represented by Braham ; and the composer is the conductor of
his work. There can be no mistake ; he is best able to direct, and his
band will be sure to follow.'

ftbth. The ffreat organ at Birmingham Is to undergo its first trial on
Friday next, the 29th, when there will be a meeting of the Choral So-
ciety of Birmingham, consisting of 120 voices.

NOTICES TO CORRESPONDENTS.
In our next, we ihaU profit by the communieatioii of J. S. C, the Oxfiird Conrespond-
ent of T. C^ Eiq. ; end hope to hear from him often.

We ehall be obliged by any MS. from C. H., Jun. | and he will doubtlen allow us
to exerciie a diicretion as relates to publication.

W. U. 8. will have obaenred that we have already, in one instance, attended to hit
recommendation. We shall be obliffed by a sight of the MS. ballad.

To * A Subscriber* we reply that it is neither advisable nor poesiUe to avoid ooca-
sionally publishing what has already appeared in so voluminous and well-aeleeted a
work. Our Correspondent is, perhaps, not awaie that, of the subscribers to the Musical
Library, nineteen in twenty do not poisess the Harmonicon^

We are much indebted to J. W. D* In the course of the month we shall avail
ourselves of his kindness.

The March by Hinunel, obligingly sent by W. M., we accept, with many thanks.

Our Publisher has handed us a letter ficom £• We always regret the appearance of
errata, though no work can be wholly free from them. We totally di0er concerning
the transposition ; and recommend the writer to have recourse^ in future, to termy
which good*breediiiff dictates.

We beg leave to decline the MSS. of J. S. and A. C, bat with many thanks. That
of O. D. u under consideration.

We feel ^atly indebted to R. F. B. for his very obliging oommunicatioi^ bat
Church Music does not come within our plan.

We will, as early as possible, give our attention to the works by Signor F^ sent us
by J. W« C., and communicate l^ note with the latter gentleman,

Erraia in Nm. Ill ^d IF.

Ko. III^ page 27, eolomn 2, line 24, ftr motIa^ read MoroX ^^

, — 31, ■ ' ^—41, for sapeto, read eapetr*
No.IV,— ^39, 1| 28, for »{ lead no.

LONDON: CHARLES KNIGHT,'22, LUDGATE STREET.
PaxMTiD Bx WILLIAM CLOWSSi Diraa Stbbbt, Lawtb.

MUSICAIi lilBRARY.

No. VII. OCTOBER, 1834. Price Sixpence.

The Music of 'Party XL* • .
« God Save the Kiag:-^Coniimied.)
Hereford Musieal Festt^al » .

Ftge
73

CONTENTS.

Gwent and Dyfed Royal Eisteddfod, and Mu-
sical Festival

Review • • •

Pago

79
79

Tbft Royal Musical Festival . • •
Extracts from th« Journal of an Amateur
Foreign Musical Report • • .
Thtt Drama

81
82
84

THE MUSIC OP PART VII.

The March to Battle — (Page 113*),

from Handel*8 oratorio of Joshua, The eflbct of this is much im-
<proTed by the introduction of fortes and pianos, though the author
iias not marked them in the score.

Air, with Variations — (Page 114).

The theme is ' Dieu d'amour,* the only air in Gretry's opera,
Les Manages Samnites, that ever became popular. The piece
failed entirely in Paris, and the composer assigns as a reason, that
the Parisians, who had been accustomed to see their favourite actor,
the &mous Prfeville, only in comedy, would not tolerate his ap-
pearance in a helmet, as a warrior and hero. We have omitted
the adagio, which is rather heavy, and the final variation, a mere
jig, and exceedingly inappropriate, in which we are inclined to
hope Moxart yielded to the fashion of the day, in opposition to his
better judgment

Rondoletto — (Page 118).

One of the best s^^ecimens, of the light kind, of the piano-forte
works of M. HiJNTEN, now a popular composer.

A Selection from Handel's Water-music — (Page 121).

Tlie fVateT'fnusic is a work consisting of numerous movements,
but only one of them ever became generally known; and even
with this the present generation are as little acquainted, as with
the tune by which Amphion raised the wall of Thebes. We have
arranged four movements, and in selecting have chosen those most
recommended by beauty of melody.

The history of the fFater-music is not uninteresting; more
especially when it is considered how much the future fortune of the
composer was influenced by its consequences. The story is thus
related by Handel's first biographer, the Rev. Mr. Mainwaring.
It is necessary, however, to premise that Handel, having offetided,
by much neglecting, Greorge I., while elector of Hanover, the ob-
ject of his noble mend, the Baron Kilmansegge, was, to reinstate
lum in the king's favour*-^* The king was persuaded to form a
party on the water. Handel was apprized of the design, and ad-
vised to prepare some music for the occasion. It was conducted
by himself, unknown to his majesty, whose pleasure on hearing it
was equal to his surprise. He was impatient to know whose it
was, and how this entertainment came to be provided without his
knowledge. The baron then produced the delinquent, and asked
leave to present him to his majesty, as one that was too conscious
lyf his fiuilt to attempt an excuse for it, but sincerely desirous to
atone for the same by all possible demonstrations of duty, sub-
mission, and gratitude, liiis intercession was accepted without
mnj difficulty. Handel was restored to favour, and his music
boooured with the h]|;hest expressions of the royal approbation.
As a token of it, the king was pleased to add a pensum for hfe, of

* We fsgrat to find that Nos. 28 snd S9 wen psffed wrong. Ton must be added
towchpe8e,fioBil03toll8. Thus lOSwiUbe IIS^ aa4soof theiettt

2007. a year, to that (2001.) which Queen Anne had before given
him.*

Minuet and Trio— (P^ 124).

This is from Mozart's Trio in B flat, for pianoforte, flute, and
clarionet, (or violin and viola,) Op. 14, a work less generally known
than most of his compositions, though equal in originality and
eflect to any of them. As an introduction, we have taken a few
bars of the first movement, but it was necessary for our purpose
to transpose these from E flat to b flat, and otherwise to alter
the last four. Nearly the whole of the three parts are now dis^
tributed between the tno instruments, to effect which, some very
slight changes have been made in the piano-forte part.

Canzonet — (Page 101.)

The anguish of my burstinff heart
Till now my tongue hath ne'er betrayed :

Despair at length reveals the smart
No time can cuie, no hope can aid.

Sorrows verging to the grave

No more shall pain thy gentle breast j
Think death gives freedom to the brave.

Nor mourn for me when Pm at rest.

Yet if at eve you chance to stray

Where silent sleeps the peaceful dead^

Give to voiir kind compassion way.
Nor check the tears hy pity shed.

Whene'er the precious dew-drop falls
I ne'er can know, I ne'er can see;

And if sad thought my fate recalls,
A sigh may rise unheard by me.

From Haydn's 1st set of Canzonets ;
Hunter (vide page 15.)

the words by Mrs. John

Song— (Page 104.)

Tke Self-bamMked.

It is not that I love you less
Tlian when before your feet I lay.

But to prevent the sad increase "^*

Of hopeless love, I keep away.

In vain, alas! for every thing
Which I have known belong to you

Your form does to my fancy bring.
And makes my old wounds bl^ anew.

Who in the spring, from the new sun.

Already has a tever got,
Too late begins those shafts to shun

Which Fliosbus through his veins has shot.

Too late he would the pain assuage,
And to thick shadows does retire ;

About with him he bears the rage.
And in his tainted blood the fire. *

THE MUSICAL LIBRARY.

But TowM I have, and never must

Your banish'd aerrant trouble you.
For if I break, you may mistrust
' The TOW I made— to love you too.

Written by Edmund Waller, one of the most distmgpisbed of
English poets, the grandaon, on his niother*s side, of Harapden*
He was born at Coleshill^ in Hertfordshire, in 1605^ and died in
1687. Whether these verses were addressed to the haughty
an({ mis-named Sacharis9(i9 — ^the Lady Dorothea Sydney,— or ta
the not less inexorable Amoret^ — the Lady Sophia Murray,— to
both of whom he aspired, does not appear ; a young widower of
good family, of brilliant talents, and large fortune, was not pre-
sumptuous in endeavouring to soften the heart of either. However,
to his want of success with those proud beauties he was most
likely indebted for future happiness. He was accepted by a
lady named Bresse, who brought him thirteen children.

We have given all the five quatrains, though Dr. Blow only
set the two first.

JOHN BLOW, If us. D.,

was bom in Nottinghamshire, probably about the year 1650, for
he was of the first set of Children of the Royal Chapels after the
Restoration. In 1673 he became one of the gentlemen of the
chapel^ and the year after succeeded Mr. Pelham Ehimphrey as
Master of the Children. In 16j35 he was appointed composer to
Charles II. He was also Almoner and Master of the Choristers
of St. Paul's Cathedral ; and, on the death of Purcell^ this great
musical pluralist succeeded him as organist of Westminster
Abbey. Dr. Blow composed some services and many anthems
for the Royal Chapels, in most of which musical learning and
labour are more conspicuous than genius or taste. The success
of PurceU's Orpheus Britannicus tempted Blow to publish a
similar collection, under the title oi Amphion Angliau, 'contain-
ing compositions for one, two, three and four voices,* &c.^ from
which the song now re-published for the first time, is extracted,
and is the best melody, the most pleasing composition, that ever
proceeded from his pen. He was not a graduate of either univer-
sity, but had the de^ee of Doctor in Music conferred on him by
Archbishop Sancroft, the ' Primate of all England' having the

fower vested in him of conferrine^ degrees. Dr. Blow died in
710, and was buried in the norm aide of Westoiiaster Abbey^
where a monuinent is placed to his memory.

Canzonet* — (Page 105).

Onward float, the wave dividing.
Go, my bark ! serenely gliding ;
Lightly stray by shore and wiUow,
O'er the bright and fairy billow.
By the starry guidance o'er us.
And the beam that plays before us.
How delightful 'tis to wander
Where the freah'ning streams meander !

Worldly cares, and wars unending.
Some destroying, some befriending.
Let who will beneath them cower,
Here at peace I scorn their power,—
Gilded snares and triumphs hollow I—
Oh ! that I the wish could foUow
To rejoin their tumults never.
Here to find such rest for ever !

'The music of this is M. Neakonoim's German song, ' An
mein SchiflBein/ the words of which^ as they here appear, are
imitated by an anonymous author, and were written to the same
air arranged as a duet

Glek— (Pkge 108).

The tragedy of Cymbeline, Act. IV., Scene 2, ftimisbed the com-

S>8er with tms 'song,' as Shakspeare ealk it. It is sung by
uiderius and Arviragus, over the bodyof Inoogen, who, disguised
as Fidele^ is supposed to be dead.

Fear no more the heat of the sun,
' Nor the furious wintei^s rages ;
Thou thy worldly task hast done.
Home art gone to take thy wages.

* The words of thitaft piiaM by pennissioii of Hislbii. ,^

Golden lads and lasses must

All follow thee and turn to dust* '

• • « •

• • • e

No eaorciier hann tliee^
Nor no witchcraft cham thee I
Ghost unlaid forhear thee ! '
Nothing ill come near thee ! .
Quiet consummation have ;
And renowned be thy grave !

This glee, which is published in that voluminous work, fVar-
renft Collection of Catches, Canons, and Olees, was originally^
written for equal voices— that is, men's voices — ^in the key of c
minor; but in order to render it available to female singers, wha
hitherto have been precluded from the use of this much-admired
work, it is now transposed. It is the composition of

JAlftES NARES, M.D.,

who was bom in the year 1715, brought up in the King's Chapel,,
under Mr. Gates, and completed his musical education under Dr..
P^usch: At an early age he received the appointment of organist
of York cathedral, and in 1756 succeeded Dr. Greene as organist
and composer to the king. In the following year, on the resigna*
tion of Mr. Gates, the place of master of the children of the
Chapels Royal was bestowed on Dr. Nares, who retained it till
the year 17o0, when declining health induced him to relinquish
it in favour of his pupil and friend, Dr. Ayrton^ He died in 1/83,
leaving a widow, who survived him forty years, two sons — ^the^
eldest, the late worthy and learned Archdeacon of Stafford— rand
two daughters.!

During his life Dr. Nares published Twenty Anthems in Score,
&c., in one volume ; and after his death his executors printed a
9econd volume, containing A Morning and Evening Service, fo^
gether with six Anthems in Scores &c., all of which evince genius,,
taste, and musical knowledge of the highest kind. He likewise
published a volume of glees, canons, &c. — ^among which is the-
composition that has called forth the present notice — also The
Royal Pastoralf an ode written on the marriage of Geoi^ III. ;
together with two treatises on singing, one of them comprising a.
set of eminently beautiful duets ; six fugues, &c. Dr. Nares waa
an accomplished man, and the influence of the general knowledge-
he possessed, and of the good sense for which he was remarkabl^
is manifest in all his works.

Cai4zometta — (Page 112). ]

Cara Lisa, amato bene,

Tu che sei la mia speranza,

Se mi manchi di costanza,
Di dolore morird.

Da auel di da quel memento

Che il tuo cuor giuro mi fede,

Le catene ho intorno al piede ;
lihertk si pid non ho.

Non so piik che sia contento ;

Per te sola vivo e more :

Non lasciarmi, O mio tesoro,
O d'affanno morird!

Of the compoBer, C. 6. Rbissigbr, we only know— what indeed
we. stated a few pages back — ^that be is fast rising into eminence
in Genoany.

Arietta — (Pfeige 113).

Bella Ciprigniaf madre d'amor,

Tutto il mio cttore consacro a te :
Tolffi i beir occhi al duel chlo sento^^

Aobia il tonnento quaiche mere^.

Of FkAMSaca Pollini, to whom this arietta is aaaigned in the
GemMia work whenee we have taken it, we knoiweven less than of
oompoaer*

• Ifad we taf tofhe ridCT, that ttw eonplgt ii an afarslinn (a
«m) of ibi «vnal ? ^ich luot thna—

Golden lads and girii aU muat,
Al chiinney*sweepen| come to dnit
f Dr. Kern wMOe elder brother of Sir George Nare% one cf iiie Jtid|ee hrlfca
Ceamoa Fleaa^ who died in 178% leavbg many dMma, aaoag wtaa i» the pre-
sent Bev. B. Nanf, D.]>.

TSE MUSICAL LIBRARY.

Cantata— (ftige 114).
Mad Ben.
From sQent shades, and the Elysian groves
Where sad departed spirits mourn their loves,*—
From crystal streamst-and from t^at country where]
Jove crowns the fields with flowers all the year,—
Poor senseless Bess, clothM in her rags and folly,
Is come to cure her love-«ick melancli^ly.

Bright C3rnthia kept her revels kte.
While Mab the Fahy Queen did dance.

And Oberon did sit in state,
When Mars at Venus ran his lance.

In yonder cowslip lies my dear,

Entomb'd in liquid gems of dew ;
Each day 111 water it with a tear.

Its fading blossoms to renew :

For since my love is dead, and all my joys are gone,
Poor Bess for his sake
A garland will make.
My music shall be a groan.

I'll lay me down and die
Within some hollow tree,

The raven and cat,

The owl and bat.
Shall warble forth my elegy.

Did you not see my love as he pass'd by you ?
His two flaming eyes, if he come nigh you.
They will scorch up your hearts ! — Ladies, beware ye,
Lest he should dart a glance that may ensnare ye.

Hark ! hark I I hear old Charon bawl ;

His boat he will no longer stay ;
The furies lash their whips, and call,

* Come, come away ! come, come away I '

Poor Bess will return to the place whence she came.
Since the world is so mad she can hope for no cure ;

For love 's grown a bubble, a shadow, a name.
Which fools do admire, and wise men endure.

Cold and hungry am I grown.
Ambrosia will I feed upon,

Drink nectar still, and sing, —
Who is content
Does all sorrow prevent,
And Bess in her straw,
While free from the law.

In her thoughts is as great as a king.

The words of this are much in D'Urfey's manner, but they do
not appear in his collection, ' Pills to purge Melancholy.' Like
"* Mad Tom,' this is a mere rant. We will also observe, that it
i¥ould sustain no damage were the name of * Venus^' in the tenth
line, changed into that of Bacchus,

The music, by Purcell, is, and always has been, one of his
most favourite works ; and deservedly so, for it abounds in all
that can be wished in a composition of this class ; — ^melody which
aever will become antiquated; harmony, masterly, but not
laboured ; and expression continually varying in character^ yet
-always true to the poetry and to musical effect.

Madrigal — (Page 1 18.)

The silver swan, who living had no note,

When death approach'd unloCk'd her silent throat ;

Leaning her breast against the reedy shore.

Thus sang her first and last, and sang no more :—

* Farewell all joys! O Death, come close mine eyes !

More geese than swans now live — ^more fools than wise.'

That these verses are Sir Christopher Hatton's, one of Queen
X!lizabeth*s favourites, and by her made Chancellor, seems pretty
<»rtain. The composer's dedication of his ' First Set of (20)
Madrigals^ and Motets,* — among which is this — to Hatton,
wherein it is said, * The language they speake you provided them,'
leaves hardly a doubt on the subject.

ORLANDO GIBBONS, MUS. D.,

tlie composer of this madrigal, who ranks with the greatest of
English musicians, was bom at Cambridge in the year 1563. At
the early age of twentv-one he was made organist of the chapels-
nyal. ' In 1623, on Uie recommendation of his friend Camden,
tha learned antiquary, the Umversity of Oxford conferred on him
tile degree of Doctor in Music. In 1625, while in attendance at

the marriage of Charles I. at Dover, he took the small-pox, and
died. He was buried in Canterbury cathedral, where his widow
erected a monument over lus grave, with a Latin inscription— the
wh(Je of which is a simple but elegant tribute of conjugal affection*
The service in F and two anthems, published in Boyce*s collec«
tion, together with the above-mentioned madrigals, &c., are the
best testimonies in proof of Gibbons* genius and ability. After a
lapse of more than two hundred years they seem to have lost none
of their freshness, and are still, and likelv to continue, the admira"
tion of all real judges of what is excellent in music. He left a
son, Christopher, who followed his father's profession, but did not
inherit nrach of his genius. The latter was a personal favourite of
Charles I. Orlando also was survived by two brothers — Edward,
organist of Bristol, the master of Matthew Lock, and Ellis,
Organist of Salisbury.

MoDiNHA*— (Page 120.)

Those lovely lius in vain, love.

Would cold disdain express ;
I ask them if they feign, love —

They, smiling, answer * Yes ! '

But though those witching eyes, love,

Should, frowning, hid me go,
I hear in thy dear sighs, love,

A voice that whispers * No ."

Translated from the Portuguese; the music by Gago da
Camera, of whom we only know that he is, or was, a Brazilian.

'GOD SAVE THE KING:— (Continued.)

AN INQUIRY INTO THE ORIGIN OF THE NATIONAL ANTHEM, ' GOD
SAVE THE KING.' PROM " AN ACX;OUNT OF THE GRAND MUSICAL
FESTIVAL AT YORK," BY JOHN CROSSE, ESQ., F.S.A., F.R.S. &C.
&;c. &C.

The intimate connexion subsisting between the national vocal
music and the morals, the customs, and the history of a people,
has been allowed by the wisest of men in all ages; and the saying
of an eminent writer, that it matters little who makes the laws of
a country, provided care be taken who writes its songs, was dic-
tated no less by moral than by political sagacity. It is natural
to desire to see our national songs collected, and to know some*
thing of their origin ; but it is a singular circumstance that both
the author and the age of our most justly celebrated and widely
adopted one should have hitherto eluded all research, and almost
baffled conjecture itself. We have no expectation of being able
to settle a point, which can probably be decided only by some
fortunate discovery, and not by any suppositions, however inge-
nious ; yet, it would not be right to pass over Ood save the King,
without making some mention of the various statements which
have been put forth respecting it. Many of our readers^ pro-
bably, are not aware, that Mr. Richard Clark published, in 1822,
An Account of the National Anihem, &c., in which he attributes
it to the reign of James L*|* Having, however, possessed ourselves
of most of the copies of the tune mentioned by him, and referred
to the different notices of it in several works, previous to the
appearance of his book, we shall endeavour to condense some
account of it within the compass of a note^ which we are not
without hope will be found to be generally interesting.

It is commonly allowed, that the earliest printed copy that is
known is that at p. 252 of the Gentleman's Magazine for October,
1745, where it is entitled, ' A Song for two Finces, as sung at
both playhouses ;' and in the table of contents, * Ood save our
Lord the King, a new song.' The words there given consist of
the three verses precisely as above printed,§ with the exception
that * sing* has been substituted for ' say in the last line but
one. H It next occurs in the lliesaurus Musicus, published not

* An air d /a mode: A fuhionabU long. Portugnese. See Journal ^f an Amm*
temr, p. SI.

t Mr. Clark's ibtemeuli w«r» imoMdiaiely and muuwwcmbly tefiited by Dr«
Kitehiiier.r— (En.)

{ The whole of this very able esaay appears in the shi^ of a note in llr. Groise's
work.— (Ed.)

$ We have not thought it neeeasary to reprint the words. — (Sn.)

II Some of the notes in the Qtnft. Mag, are evidently misprinted. We possess a
co{)y of the air «» eet to the same words, engraved on a plate, of about thto same date
as the magazine, in which the melody appears exactly as now sung. — (£o.)

THE MUSICAL LIBRARY.

long after that period^ and has heen reprinted in this original
state, both by Mr. Clark and Dr. Kitchiner.

About the year 1795, the attention of the public was turned
to the discovery of the author of this song, in consequence of its
being claimed by Greorge Savile Carey, as the production of his
father, Henry Carey, which claim he industriously maintained,
not without the hope of obtaining some pecuniary recompense
from the King, as is apparent from the account of his journey to
Windsor, in his Balnea. The claim was acquiesced in by Arch-
deacon Coxe, in his Anecdotes of J. C. Smith, Handel's ama-
nuensis ; by Mr. S. Jones, in the Biographia Dramatica; and by
Mr. D'Israeli, in his Calamities of Authors. The latter gentle-
man, however, in the Gentleman's Magaxine for August, 1814,
expresses his opinion that Carey only adopted the music, and
applied the song by the change of a single word ^ Qeorge* for
'James/ Certain it is, that neither Carey's early poems, his
Musical Century, in 1737 and 1740, nor his dramatic works,
collected in 1743, contain the least notice of the words or the
tune ; and as G. S. C. was bom in 1743, in which year his father
unhappily put an end to his own life, at the age of 80, he could
not have received any personal information from him. Yet, after
all, it is probable that we owe the revival of them both to Carey,
for there is the positive evidence of J. C. Smith, who assured Eh:.
Harrington, in June, 1795, that Carey ' came to him with the
words and music, desiring him to correct the bass, which he
accordingly did, and that it was intended to form part of a birth-
day ode;* and a writer in the Oent Ma^, for 1796, Suppt. pt. ii.
asserts that he heard Ood save the King sung at a tavern in
Cornhill by Carey, about the year 1740. As Carey died in 1743,
it is thus pretty certain that the epithet 'new/ in 1745, is not
strictly correct ; neither can Mr. Galliard's assertion that it was
produced by Carey in 1745 or 6, be considered to prove any-
thing more than that he was instrumental towards its becommg
popular at that time,'*' when its performance is thus described in
a letter to Garrick by that dramatic enthusiast, Benjamin Victor,
dated Oct. 1745: — ^'The stage, at both houses, is the most
pious, as well as the most loyal place in the three kingdoms.
Twenty men appear at the end of every play ; and one stepping
forward from the rest, with uplifted hands and eyes, begins smg-
in^, to an old anAem tune, the following words, O Lord our Ood
artse, &c., which are the very words and music of an old anthem
that was sung at St. James's chapel, for King James II., when the
Prince of Orange was landed/ &c., — ( Vidor's Letters, vol. i. p.
118.) Now it must be admitted that this passage is a proof that
God save the King was then believed by some to have been com-
posed in honour, and sung in the reign, of the last of the Stuart
monarchs ; and in corrolK»ration of this belief, there is a weighty
body of traditionary evidence. Dr. Bumey, in the fullest account
of Carey that we know of, in Rees's Cyclop<edta, says, "We have
urgent reasons to believe that it was written for King James II.,
while the Prince of Orange was hovering over the coast. And
when he became king, who durst own or sing it ? We are cer-
tain, that in 1745, when Dr. Arne harmonized it for Drury Lane,
and C. B. (himself) for Covent Garden, the original author of
' the melody was wholly unknown.'* He also told the late Duke
of Gloucester that he knew the words were not written for any
King George ; and when in his 87th year, he informed a friend
of Mr. Disraeli that he well remembered its introduction in
1745, when it was received with so much delight, that it was re-
echoed in. the streets. ^ At that time,' s^ he, 'I asked Dr.
Arne if he knew who was the composer ? He said he had not the
least knowledge, nor could he guess at all who was either the
author or the composer ; but that it was a received opinion that
it was written and composed for the Catholic chapel of James II.;
and as his religious feith was not that of the nation, there might
be a political reason for ccmoealing the names of all those who
contributed to give interest to the Catholic worship.' — (GenJt.
Mag., August, lbl4.) Dr. Ame» it may be remarked, was himself
of a Roman Catholic family, in which such a tradition was likely
to be preserved* Dr. B. Cooke supposed it to be the composition
of Dr. Rogers, who died in 168—; and told E. J. (probably Ed-
ward Jones, Gent Magazine, Feb. 1796,) that he remembered to
I^ave heard the tune sung when he was a boy, to the'words of
God save great Jambs; and Dr. Byrom, of Manchester, who
was born in 1691, informed Mr. Lloyd, of Holme-Hall, that the

. * Mr. Oalliard*s assertion proves that he knew nothing about the matter. Carey
likving died in 1743, only a miracle could have enabled him to produce any air two or
three yean after^Kn.)

song was first written * great Charles.'— (G«i^ Magaxine,
December, 1814.) Dr. Campbell's assertion that it was sung
at the coronation of James It., and G. S. Carey's admission that
it was attributed by some to the time even of James I., are of
little moment, except so far as they testily the prevalence of a
general opinion of its earlv date.

In 1814, Mr. Clark published The words of the most favourite-
pieces, &c., from which his account of God save the King being
copied into the Gent. Magaxine^ Mr. D'Israeli and other corre-
spondents were led to renew the discussion of 1795 and 6. Pur-
suing the hints that were thrown out, and having observed in Dr.
Ward's Lives of the Gresham Professors, p. 205, these very words^
affixed as the title to No. 5 of the contents of a volume of organ
music, by Dr. John Bull, then preserved in the library of Dr.
Pepusch, Mr. C. was induced to search the records of the Mer-
chant Tailors' Company, respecting the entertainment given by
them to King James I., on July 16, 1607, as is supposed, in con-
gratulation for his escape from the Gunpowder-plot. It certainly
appears that, on that occasion, Ben Jonson was employed to write,,
and Dr. Bull to compose, something in honour of the King, whicb^
was sung by the gentlemen of the Chapel Royal ; and Mr. C.
endeavours to show that our present song was the very one then*
produced and performed. He does not, however, seem to be
aware that the wish to dine with the company originated with the
King, and that the report of the attempt to assassinate James on.
the 22nd of March, in that year, although he quotes Jonson's
sonnet upon it, was productive of the greatest confusion and dis-
may ; and coming so quickly after the discovery of the Powder-
plot, was an admtionsui circumstance particularly calculated to
call forth expressions similar to those of the song. Indeed, »
letter written by the Earl of Kent on the occasion speaks of there
being ' just cause to sounde forth God's praise, together with
incessant prayers for his Highnes' longer happie^ ana prosperous
raigne over us/ — (See GifFord's Jonson, vol. viii., p. 179.) Yet,
whatever coincidence may exist between the words of contempo-
rary documents, such as the Prayers for the 5th of November,
&c., and those of God save the Kin^, all reasoning founded oi>
the conjectured identity of the tune with that, so called, bv Dr.
Bull, has been utterly exploded by the publication of the latter
by Dr. Kitchiner, in his Loyal and National Songs of England,
from the original MS. in his possession,— transcribed into modern
notation by the late Mr. E. Jones. Dr. K. observes that it is a
ground for the organ on four notes, with 26 different basses, totally
unlike the modern air ; but, after reviewing the above particulars,
we are far from agreeing with him, that there is nothing but
' mere hearsay evidence, and vague conjecture, that the words
or the music, as now sung, had been either seen or heard previous^
to October, 1745.'

Let us now consider the various attempts to establish a Scottish
as well as a Jacobite origin for this celebrated piece. Mr. Pin-
kerton, in his Recollections of Paris, vol. ii. p. 4, says, that " the
supposed national air is a mere transcript of a Scottish anthem," in*
a collection printed at Aberdeen in 1682. In this bold assertion
he, no doubt, alludes to a work which excited some interest a few
years ago from this inAgined discovery. Songs and Fancies, to 3,
4, or 6 parts, Sfc. Printed by John Forbes, 3d edition, 1682 —
(1st edit., 1665. 2d edit., 1666.) Mr. Bindley's copy of the
Cantus, part only of this work. No. 2264, was sold by Mr. Evans,
in Feb. 1319, for £11. ; and again in April, 1823, No. 1124 of
Mr. Watson Taylor's catalogue. Mr. Perry's copy. No. 1923«
was sold in March, 1822 ; both of these copies we have consulted,
but have never heard of any of the other parts being known to be
in existence. A transcript of the 9th song, in the minor key of o,
is ^iven'by Mr. Clark, and certainly it may, by curtailing and al-
termg a little, be maide to resemble our present air ; probably,
however, even this is not Scottish, as the work is chiefly composed-
t>f ' choice Italian spngs and new English ayres/ An edition of
this book is also, doubtless, the one referred to in (he Proceedings
of the Highland Society of London, p. 63, where it is supposeid
that the original words were Scottish, and in favour of the house
of Stuart. Two stanzas are, likewise, there given, which are very
remarkable : the first of them is substantiuly the same as our
present common version, and the other contains a prayer for the
true-bom Prince of Wales, and a second restoration of the. family..
These verses, which are cut on an old drinking-glass» prederved
at Fingask, the seat of P. M. Thriepland, Esq., certainly appear
to belong to a period not later than 1715, and another copy of
them is cut on a glass in the possession of the repretentative oi

THE MUSICAL LIBRARY.

the Bruces of Clackmannan. Now, admitting the genuineness
of these Scottish fragments, which does not appear to be doubt-
ful, they afford tolerable evidence of an earlier date than 1745.
In confirmation of this, we find Mr. Hogg, at song No. 24, of the
second volume of his Jacobite Relics, presenting us with six
stanzas, entitled The Kiiufs Anthem, which, he says, * is the
original of the anthem now so universally sung, which has changed
sides, like many staunch Jacobites, and more modern politicians,
when conveniences suited.' Mr. H. gives us also ' another of the
same,' (No. 25,) in a song of six stanzas to the same tune, begin-
ning, ' Britons, who dare to claim^^ and mentioning Dutch Poli--
tics, Hanoverians, and Charles the son of James, He does not
assign any date to either of these songs, but asserts, that the music
"was undoubtedly composed at a later period than they appear to
have been ; which, considering the peculiar metre, we think alto-
gether improbable ; but of the nature of Carey's claim he is evi-
dently ill-informed, supposing him to have added the accompani-
ments. We are unwilling to prolong this account by quoting
them at length, but we think the reader will agree with us, on
referring to them, that the first two stanzas of No. 24, may fairly
be ascribed to the time when James II. was on the throne, from
Ihe prayer which they contain, * Ood send a royal heir,* and bless
the king and queen, that a royal progeny from them may reign to
all posterity. The third verse, mentioning Prince Charlie, and
George; and the fourth, speaking of the family who are in Italy,
with the rest, are certainly additions after the Revolution. We
shall only further observe, on this part of the subject, that the
first and second lines God bless, and God save our Lord the King,
of Mr. Hogg's King's ^n<Aem,' remarkably agree with the title in
the Gent Mag. for October, 1745, although the words * our
Lord* do not occur in the song itself as there given, but are
altered into * great George ; which, we think, strongly points out
Mr. Hogg's as the old and partially known version, alluded to by
Dr. Arne, as written for James the Second.

Having stated thus much in illustration of the origin of the
words, the little that is known respecting the music, previous to
1745, may soon be recounted. A writer in. the Gent. Mag' for
March, 1796, asserts, that the tune, ' which evidently furnished
the subject of it, is to be. found in a book of harpsichord lessons
by H. Purcell, published by his widow,' and is in four parts.
Vague as this reference is, its accuracy is worth ascertaining.
Besides Rogers and Purcell, the air has been attributed to
Anthony Young, the father, and to Anthony Jones, the grand-
father, of Mrs. Arne ; but, if either of them had been the com-
posers. Dr. Arne would assuredly have been acquainted with the
.'fact. Some have even ascribed it to Handel, and we are in pos-
session of a transcript from a copy bearing the date of 1689, with
the name afiSxed of Vaughan Kichardson, whose master. Dr.
Blow, was the author of the catch, God preserve his Majesty, and
for ever send him victory, and confound all his enemies. But the
earliest known copy certainly appears to be the one in four parts,
without words, and entitled Goa save our noble King, which is
taken from an old book, once the property of the celebrated Tho-
-mas Britton, the musical small-coalman, who died in 1714, and
liow in the possession of J. S. Hawkins, Es(|. F.S.A., son of
"Sir J. H. Tnis curious volume has the following memorandum
t>n the title-page, • Deane Monteage, eiven to him by his father,
1676/ on wnich it may perhaps be deemed fanciful to remark,
that Bishop Montagu, as Dean of the Chapel-Royal^ was one of
those who^ with Bird, Bevin, Gibbons, &c. sung ' melodious songs'
at the dinner to King James, in 1607. Higher than 1676, the
-vit has not yet been traced. We can scarcely forbear to men-
tion, as some compensation to the memory of Carey, for denying
his claim to the authorship of this song, that Mr. D'Israeli has
bestowed much greater praise upon his works, as well for their
jx>etry as their patriotism, than tney have met with from other
writers ; but with the painful addition, that, although he was a
jprindpal founder of the Fund of decayed Musicians, when he
was found dead he had only one halfpenny in his pocket. The
mother of Mr. Kean, the actor, it may be added, was the daugh-
^rofG. S.Carey.

As might naturally be expected, the additions which have been
made to this national sonfi^, on various public occasions from tiine
to time, have been tolerably numerous. The two earliest of these
are of the same date as the revival of the tune itself — ^a stanxa in
iMmoiir of Marshal Wade (who was appointed to the command of
Ihe army in October), and four stanzas in the Gentleman* s Maga^
)rm# for December, 1745, entitled ''an attempt to improve the

song ' God save,* &c., the former words having no merit but their
loyalty," and beginning thus. Fame, let thy trumpet sound. These
words, vrith a different tune to them, are given by Dr. Kitchiner;
who, omitting the latter part of the above title, and forgetting
that he has himself ascribed the words and music of another song
to Mr. Webbe, strangely conjectures from their general similarity,
that " they were all three the production of some loyal subject,
who desired no other reward than the gratifying consciousness of
having served his country." At least, as early as 1754, the
received words were rendered into Latin, as appears from a copy
given in the Gentleman s Magcmne, 1795, Suppt. pt. ii. But tJie
next English words that we meet with are five stanzas, written by
the Rev. W. D. Tattersall, for the 1st of January, 1793, and
published with the air, harmonized by Dr. T. S. Dupois. On the
15th of May, 1800, his late Majesty havincr been shot at by James
Hadfield, at Drury Lane Theatre, the following stanza, said to
have been written on the spot by the Right Hon. R. B. Sheridan,
was sung by Mr. Kelly at the end of the farce, when it was
enthusiastically encored by the agitated but delighted audience.
In the Genileman*s Magazine for 1800, it is, however, stated to
have been produced, impromptu, originally at Quebec :

From every latent foe,
From the assassin's blow,

God save the King!
0*er him thine arm extend,
For Britain's sake defend
Our Father, Prince, and Friend;

God save the King !

We find this national song in the books ot the Ancient Concert,
for March, 1801, where it was sung with a supplemental stanza,
imploring health for his Majesty ; — in which year also the return
of peace was hailed with additional verses at Manchester ; and
probably Mr. Webbe's lines above mentioned, beginning fVelcame
to Britain's Isle, may be referred to the same period. Two stanzas
on the occasion of the King's illness, by G. Children, Esq., sung
at Tunbridge, by Mr. Sale, appear to belong to the year 1811.
On the visit of Queen Charlotte to the City national schools, on
April 29th, 1818, being her last appearance in public, two
stanzas, written by E. L. Swift, Esq. were sung by the children, in
which her Majesty joined : and in the Philanthropic Gazette of
July 8th followin|[, are four stanzas, adapted to a time of peace,
and to the use of schools. Lastly, the accession of his present
Majesty* has drawn forth three additional verses from the pen of
George Colman, Esq., the second of which is, perhaps, the only
one among those enumerated that at all deserves being annexed
in perpetuity to the original. Several attempts have beeii made
to adapt the air to hymns for divine service; but it is too deeply
<^onnected with political and secular associations, notwithstanding
the modem custom of describing it as the national anthem, ever
to prove acceptable in a church. Neverthdses, its effect, where-
ever it is performed, would be sensibly improved were it to be sung in
a slower time, and with more reverence for the name of GrOD than
it usually is; and that it was thus performed in 1745, we have
the testimony of Lady Lucy Meyrick, as riven by Miss Hawkins^
in her Anecdotes, that as Mrs. Cibber then sung it, "it was a
perfect hymn."

Much more successful, as well as better directed, have been the
efforts to introduce this specimen of English music into other
countries. We learn from the Tour in Germany, before quoted^
that it has been adopted by the Weimarese, the Saxons, and the
Prussians, as their national tune; and that, upon the occasion of
the King's paying a visit to the theatre at Benin, when the writer
was in that city, the whole immense audience burst forth in '' JETetJ
dir im siegerkranz,** the Prussian God save the King, sung to our
notes. " The Austrians," it is justly observed, ♦• were perfectly
right not to borrow from fore^ treasures, when they had Haydn
to compose their Got erhaUe Franz, den Kaiser ; but the Austrian
hymn, with all its melody and sweetness, has too much of the
psalm in it : it wants the manly, majestic, fiill-hearted boldness
of the strains in which we are accustomed to express, not more
our respect for our monarch, than our own national pride." This
very character of Haydn's air reconmiends it to our notice,
as admirably calculated for the morning performances at a mimi-
cal festival; and, if iiiniished with appropriate words, more
strictly sacred than those of God save the King, it mi^ht be
adopted by us as properly a national anthem, not less suited to

* George IV. Thii Essay was pablislied in 18S&.-<Bn-)

H 3

THE MUSICAL LIBRARY.

diyine senrice on public occaaions^ and to musical festivals, than
the other is to the secular concert-room.* A copy of the original
3core of Haydn's hymn, in seventeen parts, as sung in the Impe-
rial Chapel at Vienna, for which we are indebted to the kindness
of Madame Catalani, is now lying before us ; and nothing can
exceed the effect of its performance as we have heard it done by a
tolerably large band, especially in the chorus in the seventh and
eighth Imes, given alternately fortissimo and piano, and ending
with the latter^ in the most subdued and affecting manner.

In conclusion, we shall enumerate a few instances in which God
9avfi the King has been skilfully interwoven with, or introduced
into, other works. Mr. Webbe happening, in the year 1789, to
bear a person in the street sing this song in the key of s>, whilst
some gentlemen in the room with him were performing a glee in
B minor, was prompted thereby to write the glee My pocket* 8 low,
in wUch the upper part consists of the air in the former key,
while the woo^s of the three lower parts are set in b, with two
sharps .and two accidental sharps. And, in the glee of Britiah
SeniimenU, inscribed to Mrs. Billington, after the subject has
been led off in common time by the three under voices, the first
part of the national tune is brought in by the soprano, still pre-
serving four crotchets in a bar. Mr. Attwood has, with no less
ingenuity than propriety, introduced it in the symphony to his
Coronation Anthem; and Mr. Clementi has done the same, we
are told, in a very sci^itific manner, and with the happiest result,
in a national symphony^ performed at the Concerts Spirituels of
1824. In Mr. G^ge Onslow's quartetts, however, is a still earlier
instrumental arrangement, apparently constructed on the model of
Haydn's quartett. No. 77, in Op. 76, containing the hym« for
the fknperor. It forms the adagio movement to No. 1 of his Op.. 9,
dedicated to M. Boucher, and was con]^)OBed before 1814, in which
year we procured it in Paris, and heard it privately performed
HI London, by the late Mr. Salomon, by whom it was greatly
SMkouPsd*

HEEEFORD MUSICAL FESTIVAL.

TfiB,0NE BiTNimsD MrD jBiJBT£x«Ta meeting of the neishbonriog
eboiis of Worcester, Gloucester, and Hereford, was Imd in the
latter eitv in l^e second week of September^ for which propan-
iioos had been made on a wider scale thsm hitherto,, and die
mteoess, at least in a peeuaiary point of viiew, was gveatsr than
itts been koMm for many yean. Butihemaa8fer,ar maaaans,
betrayed a little want of experience in mch mattera, partieatorly
in aflowiDg a dissension between the two prime demne to be pro-
ductive of cottsiderriile deraagcaneat ia the various promns»
and the source of much disappcanlaaeBt to the company. If tiie
committee of managen, or conductor, or whoever may be the
ndioig parly, is not exceedingly absolute on such oecarions, espe-
chBywhen foreign ladies are concerned, the chaoees aretnat
infinite aiisdiief will ensue. Tlie plan of operation should be,
bota die very first, laid down ; the singers ought io be engaged
with an understanding that they are to be gooiremed by such
plan, and if from false notions of their own dignity, or from
caprice, they refuse to perform the duties assisned to them, an
action for damages would not only lie, but ougnt to be brought,
for any injury sustained in consequence of thfdr condnet.

Among the vocal performers were Mesdames StodLhanaea,
Garadori Allan, and Knyvett ; Messrs. Braltam, Sapio, Boisragon,
and H. Phillips. Among the instrumentalists, Messrs* F.
Craaier and Mori, leaders ; Messrs. Loder, Lindley, Dragoaetti,
Williams, and Nidiolson. The orchestra altogether consisted
<tf 120 performers, equally, therefore disproportionately, divided.
Mr. S« S. Wesleyr, drganist of the cathedral, was the conductor.

On the present occasion, and we believe for the finst time, the
aBoming performances weire in the nave of the cathedral, instead,
as fom^y, in the choir. This arrangement, nnade by the Dean,
was a vast improvem«it, giving more space for the company,
and enabling the managers to fix different prices, so as to admit
nearly aU who really wished to enjoy the musie. With this
aftOBt laudable view, galleries w^re erected, and the nave as well
as aiales were floored and supplied with benches. The tickets to

* Mr.OroiM rabMqnentlywfote new-words to Haydn's air, and added iiMtnimenfaL
paiis to it. It WM thus pmirsMd at the York Fe«tival in 1825 ; fireqvently afker-
warda at other festivalp, at the Ancient Concert, and recently at the Roval FentiTal in
llfestminKter Abbey ; but in naost instances without naming, or even alluding, to the
accompliriied, active, and amiable author of the English rerses and instnunental
parts, who is sow no more.

the gallery were 12^. 6d ; to the centre of the floor, 10*.; and
to the aisles, Zs.

First day. — ^Tuesday Morning.
The performance began with the Overture to Spohr's Oratorio,
The Last Judgment. Divine service followed : the Psalms were
chaunted by all the vocal performers, the Gloria Patri to each
being ax^companied by the whole band. The Dettingen Te
Deum, and the Jubilate, ako by Handel, which always follows
it, were performed in their respective places. At the conclusion
of the morning service, the clever anthem, composed by Attwood
for the coronation of George IV,, followed ; and the whole con-
cluded with Dr. Boyce's fine work,. 'Lord, thou hast been our
refuge,' which for nearly a century has never been omitted at
these meetings.

First Concert. — ^Tuesday Evening.
Th»5 was attended by only 247 persons ; though it seems that,
as many were present as usually appear at the first evening;
performance. Such, we conclude, is the fashionable rule ob<»
served at Hereford !

Jomelli's overture and chaconne opened the concert. Madame
Stockhausen and Mr. Phillips sang the duet from Spohi^'s-
Berggeist, ' Calma, eh bella ! with great spirit. The Sotdier*8
Dream — in which we are always at a loss to determine whether
the poet, Campbell, or the composer Attwood, is most to bo-
admired-— was sung by Mr. Vaughan in a very pure style, and
with as much animation as his voice would allow. The sweet
harmonized glee, ' The Rose of the Valley,' followed. Then
Mr. Braham gave, in his highly dramatic, energetic manner^.
Purcell's cantata, ' Mad Tom,' with the addition made to itliy*
it is supposed, George Hayden, an old Elnglish composer, and
author of ' As I saw fair Clora.' A concerto on the violoncelld-
foHowed, and in this Mr. Lindley charmed the audience witli
his fine tone and a Scottish air. Madame Caradori, in a soena
of Donizetti,* made the trash palatable by her maimer of sing-
ing it What a contrast to this was the delightful madrigal mr
Festa, * Down in a flow'ry vale,' that came after as a seasonabb
relief 1 The date of this is 1 541 !

The second act began splendidly, with Beethoven's pastoral,
syn^hony, which, upon the whole, was respectably performed.
Ire now had a fair opportunity of hearing a hew candidate fiiT'
vocal fame, Mr. Boisragon, son of a distin^ish^ phydcian at
Cheltenham, whose passion for the art has induced him to tura
an accomplishment into a profession. He possesses a .powi'^il
base voice, which practice will much improve, and a style^
ae^uiiieil by studying in Italy, much more pure than that cS^
many highly-praised singers of that country. So well did the
audience think of his performance, that his aria (from BellinTii
Sonnambuta) was encored. The beautiful scene from the-
Freischtttz was given by Madame Stockhausien, and pleased
universally : the audience were worked up into something voy
like enthusiasm. Nearly as warmly was Mr. Phillips received
in his own ballad to the well-known words of Withers, ' Shall I^
wasting in despair.' Mrs. Knyvett very much gratified aXL who-
love what is chaste in music, by Mozart's * Batti, batti, o bel
Masetto !' Mr. Mori played an excellent concerto, by De Beriot^.
on the violin, most brilliantly. Madame Caradori then intvo*
duced another flimsy composition, from the Norma of Bellini^
and bestowed more pains on it than it deserved. Miss WoodyattV
' O dolce concento,' accompanied by Nicholson, was amazingly
applauded. The concert concluded with the sestetto from Von^
Giovanni.

Seoond Day. — ^Wednesday Morntno.

The first part of this day's performance consisted of SpohrV
oratorio. The last Judgment^ in which all the principal smgera
took a share. It was performed in a very correct manner. The
second part included a portion of Haydn's Creation, and cer^
tainly the best of that great work. In tnis Madame Stockhausen
and Madame Caradon made a strong impression on the audienc^
in * The marvllous work,* and ' with verdure clad f ;' and

* Printed Domgetti in the book; and we reg^t to nay that this department
refleeti anything but credit on those to whom it was confided. We never warn
books of perfemumce so ill put together and got np.

t W« cannot refrain from expressing our aatonisfament at finding tlw wnBtei
words of the German baron in use on this occasion, instead of the improved veniQik
Such pertinacity in retaining this tissue of nonsense, is ^ite disgraceful to whoevef
m aesponiiUe for it

THE MUSICAL LIBRARY,

Mr, Braham added grandeur to the magnificent recitative^ ' lu
Bplendour bright.* Mr. Sapio> too, distinguished himself in
-the air, * In native worth.' A clever AntijJwna, by S. Wedey,
followed the selection; and a well-written Sandus, 8cc., by
S. S. Wesley. * From inighty kings' is rather beyond the phy-
sical power of Mrs. Knyvett. Mr. Braham's 'Total eclipse' was
deeply felt by all who heard it. After the beautiful quartet from
Samson, * Then round about the starry throne/ a pleasing duet .
from Mehul's Joseph was sung by Miss M. Hawes and Mr. Phillips;
and the performance terminated with Handel's chorus, * As from
the power of sacred lays,' from Dry den's ode on St. Cecilia's day.

Second Concert. — -Wbdnksdat Evening.
This commenced with the first scene from Don Giovanniy by
Miss M. Hawes, (in lieu of Madame Stockhausen), Messrs. Bra-
ham, Sapio, and Phillips. Madame Stockhausen's absence
caused some murmurs, and the audience really felt for a young
singer, placed, at a moment'^s warning, in so trying a situation.
Mr. Braham, in the gmad soena from Weber's Uberon^ 'O, 'tis a
glorious sight,' was m AiU vigour. In the masterly atnd very
pleasing scena from Hummers opera, Mathilda van Crui9e,
Madame Stod^hausen deserved all the applause she received.
She has not quite power enough for the second movement, the
bramra,h\it the great neatness of her execution, and the sweet-
ness of her voice; compensated for the want of strength. A con-
43erto on the violin by Mr. Eliason was announced, but not
performed. Why« we know not. The admirable cantata of Pur-
cell, * Mad Bess/ was charmingly sung by Mrs. Knyvett ; and
£>Uowed by that fine niecimem of the same composer's genius, the
Frmt gcene, from his Jtma Arthur. The first act concluded with
a MS. overture by S. S. Wesley,

The seeond act was oomjxwed entirely of a well-made selection
firom Spohr's opera, Axor and Zemira, set to English words, per-
formed by Madame Caradori (Zemira), Mrs. Knyvett, Miss
Woodyatt, Messrs. Braham {Azor), Sapio, and Pliiilips. This
icent oisrwell, and afforded great pleasure to a very full room.

Third Dat. — Thursday MoRNiNe.

Mozart's Requiem occupied much of the first part^ and was aUy
performed. ' Let the bright Seraphim' wants a fuller voioe> a
more commanding: style, than Madame Caradori possesses. Of
tile song, Abraham's C^ering^ by S. S. Wesley, sung by Mx. BL ^
PhiUips, Tjre really cannot oflfer any opinion, for it was performed
in a manner that seemed as if nooe of the parties encaged ^uke
understood the composer's meaning. Maname StodLhansMi, in
thei»o-often repeated '^ Oratias i^mfus tibi,'* did all that neat '
^^ecution could eflect. The clanonet acoompanimentj I7 Htht.
Williams, was highly creditable to that performer.

The second part was a selection from the Messiah. From the
Mes^dah! — we can hardly believe it. No oratorio more oona*
plftely hangs together. The several parts are so placed, so con-
trasted, as to be necessary to each other; and though a chorus
or two may^ without injury, be detached, a selection can only be
made-^as was the case now — ^by rejecting what is essentica to
effect, as a relief, if for no other reason. Most, but not all, tiiat
vi^as given, was well performed. With now and then a rare ex-
cepition, we only desire to hear EngUsh singers in this oratorio,
or any part of it.

Third Congbrt. — Thursday Evening,
Sporr's overture to Jess<mda, not one of his best, was chosen
for the commencement of this evening's performance, * The
Carpet-weaver,' harmonized as a glee by Dr. Clarke Whitfield,
delighted the audience so much, that it was repeated. Madame
Stookhausen sun? Mozart's ' Dove Sono' very agreeaUv ; acnd
Mi. Sapio, in Weber's air, ' Through the Forests,' pleased much.
A ballad, composed by Mr. Aspull, sung by Miss Woodyatt,
was encored. iTie duet in Figaro, ' Crudel,.perchfe finora,' by
Mrs. Knyvett and Mr. Braham, was, as it always must be,
greatly admired* Madame Caradori once more introduced a
feeUe aria of Bellini, from bis meagre opera, La SonmambukL
Why do not oommittees peremptorily forbid this trifling ? Thw

Cy enough, that is quite certain; they should then oommand.
rs. Knyvett sang a very pretty ballad, by Mr. W. Knyvett,
which anorded general pleasure. A * Symphony for Wind
Instruments,' set down in the book, was not performed; but
the finale to Cosifan tutte, well executed, ended the act

The second act commenced with Mendelssohn's very original
overture to A Midsvmmer NighVs Dream. Miss M. Hawes sang

Haydn's delicious canzonet, * My mother bids me bind my hair,*
in a simple, pleasing manner. Mr. Mori played a concerto, and
delighted his audience by the popular airs he introduced. They
were, in feet, understood by * the general.' Not less, and for
the same reason, did Madame Caradori operate a 'charm by
* Jock o' Hazeldean/ which, of course, Was encdred. Encoring
now became the law : Madame Stockhausen in her Swiss Airs,
and Mr. Braham in the * Bay of Biscay/ were twice called upon ;
and the audience were hardly satisfied by a single repetition.

The evening terminated well with Mozart's finale to La Ck^
menza di JHio. After which — ^though this is rather an Hiber^
nictsm — •God save the King' was given with the warmes*
applause.

GWENT AND DYFED ROYAL EISTEDDFOD, ANUr
MUSICAL FESTIVAL.

This interesting national gathering was held on the 20th, 21st, an^ft
22nd of August, and was exceedingly well attended. The Mar-
quess of Bute acted as president, and among the vice-presidentp
were many of the chief nobility and gentry of the Principal ity. .

On Wednesday morning, August the 20th, the baxds assembled
in the Castle, when the various medals and premiiuns w^ro
awarded for prize-poems, essays, &c. In the evening was a
concert at the Town-hall.

On Thursday, the 2lst, there was a public breakfast ; after whidi
the contest for rilver harps, also pennillion and singing with the
harp, for prizes, according to the customs of North and Soutk
Wales, took place at the Castle. In the evening a second
eonoert.

On Friday morning, the 22d, a selection of sacred music was
performed in St. John's Church ; and in the evening the meeting
concluded with a ball at the Cardiff Arms.

We have only to speak of the musical part of this meetinj^
which was most successful. The vocal strength consisted of«^
Miss Stephens, Mrs. H. R. Bishop, and Mrs. W. Knyvett; Mr.
Braham, Mr. HomcasHe, Mr. Parry, Jun., and Mr. W. Knyvett«
Mr. F. Cramer led a small, but veiy choice and efficient hand, in
which were Messrs. Nicholson, Haiper, Thomas, Walkins^
Hatton, Lindley, Dragonetti, &o. &e.

Mr. Bishop {Abided at th^ organ and pianoforte; conduetof
Mr. Parry. . . . ,

The next Eisteddfod, or meeting of bards and minstrels^ wi]}
be held at Holywell, Flintshire, in the autunm of 18?5«

KEVIEW.

1. A Si^^iion of Irish Melodies, taith Symphonies and Aeedmpain^
menis by Hemrv R. Bishop, and characieristic words by Tn^^ssS
MooKBi Esq. No. X. (Power.)

2. Supplement to Ditto,

It is now very many years since Mr. Moore first re^sttang the lyre of
Erin : from that time to the preseat he has continue^ to draw from it
lays that are, and wiU for ever remain, the, glory of his own country,
and the delight of every region where the language in which he breathes
his poetical and passionate strains is understood— of every people to
whom his tender, nis glowing thoughts can be interpreted, nhat heart
susceptible of soft emotion but must beat — what breast in which lives
one spark of patriotic fire^ but niust bum, when he stHkes the strmg?
To the strongest of feeHngs he makes — ^with unfeigned warmth, with
unpretended love of country — ^his appeal ; and unenviable is the lot of
that being to whom his appeal is made in vain.

This Number and- Supplement complete the work, which is thus
brought to a close but a snort period after Mr. Moore's first coadjutor
in it (Sir John Stevenson) terminated a not very long but active life.
To the loss of this colleague and friend he pointediy a^udes in a dedica-
tion to the present volume, i^ppearing in the fonn of a letter addces8e4
to Sir John Stevenson's daughter, which displays so much true and
well expressed feeling, tiiat we are induced to inseit a portion of it :— *

* To THE MAftCHfONESS OP HBAnFORT,

* It is with a pleasure not unnnxed with mdancholy, that I dedicate
the last Number of the Irish Melodies to your Ladyship ; nor can I
have any doubt that the feelings with which you receive the tribute will
be of the same mingled and saddened tone* To you who, though but
little beyond the season of childhood when the earlier numbers of this
work appeared, lent the aid of your beautiful voice, and, even then, ex-
quisite feeling for musio, to the happy circle who met to sing together
under your father's roof, the gratification, whatever it may be, which
this humble offering brings, cannot be otherwise .than darkened by the

THE MUSICAL LIBRARY.

mournfiil reflectioDf how many of the voices which then joined with ours
are now silent in death !.«...

' TruBting that I may yet again, in rememhrance of old times, hear
our voices together in some of the harmonized airs of this volume* I
have the honour to subscribe myself,

* Your Ladyship's faithful friend and servant,

' Thomas Moorb.
< Sloperim Cottage, Mcey, 1834.'

How vain was the hope ! for a very few weeks, nay days, after this
volume could have reached her to whom it is addressed, the malady
then prevailing suddenly snatched from an attached husband, an affec-
tionate family, and a wide circle of admiring friends, one of the most
amiable and accomplished women that ever graced a country, where, in
the class to which she belonged, the social virtues and mental attain-
ments are not so rare as to confer any particular distinction on an ordi-
na^ possessor of them.

Comprised in this tenth number and supplement are sixteen melodies,
two of them harmonized for two sopranos and a base, and aU, with very
few exceptions, distinguished either by that gentleness, yet freedom of
air, or by a peculiarity almost amounting to the grotesque, which cha-
racterizes some Irish music. The second, * Sing, sweet harp,' and ninth,

* There are sounds of mirth,' are remarkable for gracefulness. The
first, ' Though humble the buiquet,' the fourth, * The wandering bard,'
and the fifth, ' Alone in crowds,' are quite national ; as are the sixth,

• I've a secret to tell thee,' and the twelfth, • Oh, could we do with this
world of ours,' but of the quaint kind. The seventh, ' Song of Innisfail,'
or • Peggy Bawon,' and the tenth, * Oh, Arranmore,' are lovely airs.
The eleventh, * Lay his sword by his side,' a martial funeral song, is
very striking : the epithet majestic may be applied to it without impro-
priety.

Of the martial kind, also, is the first in the supplement, * The wine-
cup is circling.' The second of these, * The dream of those days,' is
defective in rhythm, and the least satisfactory of the whole. Hie fourth,
' Silence is in our festal halls,' is not suited to the words, and otherwise
little worthy of them. But the third, * From this hour the pledge is
given,' is original, pleasing, and altogether excellent Hie harmonized
idrs, considered as part-songs, do not possess any feature that entitles
them to particular remark.

In the symphonies and accompaniments to these, Mr. Bishop has
shown great judgment ; he has not sought to display himself at the
expense of the mek>dies. In a few instances he rather relaxes the rein,
and indulges in effects worthy of his genius and taste ; but on the whole
it is evident that he has been restrained by a very correct sense of what
was due to the subjects intrusted to him« His self-denial does him in-
finite credit.

Of Mr. Moore's share in these two publications — which, though last
mentioned, we need not say is by far the most important — we will only
observe, that it indicates anything but a falling-off in those powers
which have raised him to so exalted a rank among the poets of this
Augustan age. We will, however, afford our readers some means of
judging for themselves, by extractinff the words to the air that terminates
the Iruh Mdodieij a, work which alone is sufficient to imiiiorfalize him
jon whose support it has mainly rested. ' The lines*' says Mr. Moore,
' are meant as a tribute of sincere, friendship to the memory of an old
and valued colleague in this work, Sir John Stevenson.*

>*«r;

' Silciiee ii in oar festal halli,—

Oh, Son of Song ! thy eoune is o*«
la vain on thee mu Srin callii,

Her minttrel'f voice reiponds no mors:
AU fileot as th' JBoUan ahell

Sleeps at the dose of some bright day,
When the sweet hreeae, that wak'd iU swell

At sunny monii hath died away.

Tet, at our feasts, thy spirit lonr,

Awak'd hy niusie*s speU, shafi rise;
For name so link'd with deathless song

Partakes its charm and never dies.
And ev'n within the holy ftne.

When music waits the soul to hetTen,
One thought of him, whose earliest strain

Was edioed there, shall long be given.

Bnt where is now the cheerful day.

The social night, when, by thy sid%
He who now weaves this parting lay,

His skilless voice with thine alUed?
And sung those son^ whose every tone,

When baid and minstrel lonf have past,
ShaU stiU, in sweetness all their own,

Bmbaha'd by fame, nadying last

Te% Erin, thine alone the fame,

Or if thy bard have shared the eiowii|
From thee the borrowed glory came,

And at thy feet is now laid down*
Bnoogh, if Freedom still inspirs

His ktest song^ and still there be^
As cveuing closes round his lyre.

One ray upon its chords from thet.

NOURJAHAD.
An Opera in three adi, performed at the New Theatre Royals English
Opera House, composed by Edward J. Loder ; the poetry by S. J.
Arnold, Esq. (Hawes.)

1. Regit, and Air, * Oh, fly with me/

2. SoNO, ' Is it joy that should beam?'

3. SoNO, ' There's a light in her sparklinf^ eye/

4. SoNO, ' As we wandered by the fountain.

5. Cavatina and Air, * When pale sorrow dims the eye.'

6. Ballad, The Mariner.

7. Ballad, * Turn not from me that ardent gaze/

8. Trio, ' Soft is the murmur.'

9. Air, * Soon will lovely peace/

In our last we gave a general opinion of the music of this opera. The
favourable impression its performance made on us Is not weakened by
an examination of such of the pieces as are published ; but before we
proceed to notice these, justice to the composer requires us to mention
a duet and chorus not |>rinted. The one, ' Tho* love for a moment may
stray,' is particularly distinguished by the full, clever, and effective ac-
companiments ; the other. Use Trance Chorus, * Oh, sleep ! deep sleep !
mysterious good!' beginning in the manner of a German choral, but
for female voices only, is exceedingly dramatic, and flows in a gentle
stream of simple and very charming harmony, that bears testimony both
to Mr. Loder's taste and discrimination.

No. 1 is a sweet melody, with an easy but not unmeaning accompani-
ment, as a passage at the bottom of page 6 will show. One instance of
faulty accentuation occurs in this, which, for the composer's future
guidance, we point out. It is at the words, * where mortal step' (p. 3.)

* Where ' should have been the last quaver in the previous bar, for

* mortal ' is the emphatic word. The singer may easily correct this.

No. 2 is an animated and new air in Uie bolero style, easy to sing
and accompany, and popular in manner, though void of everythmg
bordering on vulgarity.

No. 3 is one of the great favourites of the opera« It is an exhilarating
air, the rhythm of which is strongly marked by an accompaniment of
chords in quavers. The vivacity superadded to it by Mr. H. Phillips
certainly has a large share in the electrical effect — to use the phrase of
dramatic critics — it constantly produces. For pure vocal effect, the words .
are too many for the notes ; but the number of words, and necessarily
quick utterance of them, are not always considered &ults on the stage.

No. 4 is a lovely melody, though none can deny the very strong re-
semblance it bears to Himmel's beautiful air, * Ida an Alexis, bei sendung
einer rose.' It is, however, admirably accompanied, and in this part
many new effects are produced, which may be placed against the debt
incurred bv the imitation.

No. 5 shows much labour, attended by very little success. Tlie title,

* Cavatina and Air,' is unintelligible to us* This is an air in two move-
ments, and neither more nor less.

No. 6 is a clever song, embodying many happy musical thoughts,
some of them quite originad. We are particularly pleased to find, that
at the words, * The sullen ocean's roar/ Mr. Loder has had too much
wisdom to set the singer off in a long loud roar^ though most com-
posers would have been betrayed by so seductive a noun substantive.

No. 7 is, in our estimation, the most graceful composition in the
opera. The subject, too, possesses the rare quality of originality. The
following are a few bars of this very sweet air: —

AndafUifUK

Cggirgrg

Turn not from me that ai^deat

gM«#

Nor!

chsck that trant-port wild I

.-nr c r :

Ba • caU youth's by • gona

day% Bat grwt your trembling child*

In compass it is moderate, and in every way easy to^both singer and
accompanist

No. 8 is an extremely pleasing trio. The harmony, simple as it is,
charms by soodiing ; and the murmuring accompaniment really makes
the * sound an echo to the sense/ not of a particular word, but of the
soft, tender sentiment that prevails throughout the eight lines of poetry.
A short pedal bass (for so it is in the score) at page 3, will prove espe-
cially grateful to the ear of the connoisseur.

No. 9 is ffay, and, except the openuig, has novelty to recommend it*
The words, however, are here, as in a former instance, rather crowded;
and the present singer of it has not the same broad sliield to throw over
the defect, that he possesses to whose share the other falls.

THE MUSICAL LIBRARY.

THE ROYAL MUSICAL FESTIVAL.

To the Editor of the Musical Library.

Sir,— You will be glad to learn that your cotemporary the Spectaior
baa misled you, in regard to the expenses of the Westminster Festival,
by nearly fifteen hundred pounds I as you will find by an official states
nent about to be published.

Was your correspondent, A Looker^on^ aware that the words of the
air which he alludes to, in page 68 of your last supplement, were altered
and printed in the book of the third performance, thus ? —

^ Nobis omnipotenti& Verbi panis datus in cruenti sacrificii testimo-
nium/

In the book prepared for the third rehearsal they were printed in their
original form.

I regret that the Spectator^ or any other respectably-conducted journal,
should use ' strong language ' without proofs to warrant it. Everything
connected with the Festivcd was done with the best intentionsy by all who
were concerned in the management. Had those who appear to take
delight in finding fault been placed in the same novel situation, tliey
might not have been clever enough to please everybody,

I am yours, &c. &c.

John Parry,

Sept. I9thf 1834. Assistant Honorary Secretary.

We most willingly insert the correction of any error into which we
may have been led, and are glad to find that the expenses of the late
Festival were less enormous than, according to the statement which we
are persuaded the writer in the Spectator thought might be relied on,
at first appeared.

But with regard to the text of the air, which drew forth our animad-
Tersion, and the notice of our correspondent (who will, we hope, answer
for himself), we beg leave to inform the 'Assistant Honorary Secretary,'
that in the regular book which we ourselves purchased in the Abbey on
Saturday, June 28th, the very day of performance^ and of a person
authorized to sell it^ are the following words : —

'Panis omnipotentia ybrbi caro factus in cauENtUM sacrificium

OIBUS £T CONYIVA.'

Against a fact so stubborn it is in vain, utterly hopeless, to struggle,
and Mr. Parry has not exercised his usual discretion in reviving Uiat
which, for the credit of the sub-committee, * whetlier of many or one,'
had better have been allowed to rest where it was.

EXTRACTS FROM THE JOURNAL OF AN AMATEUR.

{Coniinuedflrom Last Mimth.)
Aug. 90th. — It appears that the surplus of the receipts at the Abbey
Festival amounts to less than 8,000/. ; and that this is to be equally
divided between the Royal Society of Musicians, the New Musical Fund,
the Choral Fund, and the Royal Academy of Music. Why an equal
dbtribution should be made I cannot comprehend. Perhaps it may be
right to put the two first on the same footing; but the Choral Fund,
though a very laudable institution, consists chiefly of persons who
have trades to depend on — who do not rely on chorus-singing as a
Bole means of subsistence — and who, in fact, ought never to be
]daced on a level with professors, and professors of the first eminence
too. And what possible claim had a music-school, for youths of both
sexes, to participate as largely in the profits as those institutions on
which so many meritorious, but distressed artists^uch numbers of
widows and orphans of excellent, but unsuccessful, musicians depend ?
The Royal Academy of Music is neither more nor less than a boarding-
school, in which the pupils pay for their diet, lodging, and instruction.
If they do not contribute enough to support the establishment, the terms
ihould be advanced. If an advance is impracticable, let the academy be
broken up ; but let it not thrust old professors from their seats, then
divide with them the only means of support left them, after they have
been unwillingly driven into retirement.

S^. 1#^*— The following anecdote, from the Revue MusieaU, is not mal
apropos. Paganini was at Naples. On the morning of the day when he
was to play before Madame Elise — (thus the Queen of Naples, Napoleon's
sister, f^sa named)^-he had a quarrel with a lady whom he much loved.
A recoJiciliation having been efifected, * What shall you play this
eYening ?' said his fiiir friend. ' Our falling-out and our peace-making,'
replied the artist, In^fiu;t he contrived a sort of dialogue between the
first and third string, m which he imitated the shrill voice of a woman
in a passion, and the accents more masculine of the other sex, and. con-
cluded by the union of the two strings. The Queen having asked him
whether he could excite equal interest with a single string, Paganini
answered, that it was quite possible— promised to prove the truth of his
assertion at the next concert, and then devoted himself to a study which
was entirely new to him. The result need not be toid« His labours,
uded by the gullibility of mankind, opened to him a mine of wealthy

Sept. 2nd. Musical performances, on a scale of grandeur hitherto rerf
uncommon, are now the order of the day everywhere: even the frugal
and simple Helvetians can collect, in the miniature capital of a small
republic, an orchestra nearly as numerous as that which so recently was
assembled in the metropolis of the rich, the luxurious, the mighty British
empire. The 24th of last July will be a marked day in the annals of
Geneva, on account of a grand sacred concert that took place in the
cathedral of St. Peter, in which five hundred performers were engaged-—
three hundred vocal, and two hundred instrumental. The fact will
appear almost incredible to those who are ignorant of the progress mader
by music on the Continent, who have never heard that years ago, in a
remote part of the half-civilized empire of Russia, at Archangel, Handel's
Messiah was performed by an orchestra counting nearly four hundred
members, a moiety of whom were amateurs ! But to return to Switzer-*
land. The program of this concert was as follows : — 1. Sinfonia Eroica of
Beethoven, divided into two parts. 2. Beethoven's Mass in d. 3. Hymn
of the Night ; the words by M. de Lamartine, the music by M. Gnist,
a young Swiss composer. 4. The Ave Verum of Mozart. 5. An un-
published Hymn of C. M. von Weber, composed for the Helvetic
Society, and never before performed ; .a masterly and dramatic compo-
sition, in which a choral for four Yoices, without accompaniment, is as
remarkable for beauty as a concluding fugue is for energy and brilliant
effect. The eveninff following, a concert of secular music was performed
at the theatre, which, as was to be expected, commenced with the over*
ture to GuiUaume Tell. M. Drouet and his wife contributed, says the
Comte L , to whom I am indebted for this intelligence, much to the
charm of the performance— the one by his flute, the other by her voice-
All the amateurs of Switzerland seem to have congregated on this
occasion; and it was announced, that next year the musical festival
would take place at Fribourg.

Ath. The following paragraph is appearing in all the newspapers.
It must relate, I presume, to an opinion given some time since by the*
learned lord, for he has not lately acted in a judicial capacity : —

* CnuacH Singing. — Lord Stowell has decided that die right ot
directing the service is in the minister, and that the obstructing him iir
the exercise of that right is an offence which may be proceeded against
in the Ecclesiastical Ck>urt. He has, consequently, the right of control
over the singers.'

Could it ever have been doubted that the right of controlling the
singers, in what regards the service of the church, is vested in the
minister ? But possessing this riff ht, it is not only proper but necessary
that he should understand enou^ of music to qualify him for the task
of directing his choir, otherwise the humblest mechanic that sings, from
note, a psalm-tune, whether through his mouth or his nose, will be more
capable of ordering the musical service of the church than the rector,
however learned in Lactantius and Eusebius. A knowledge of music
was anciently an indispensable qualification of the priesthood ; and it
must be granted that even now, though the clergy are too much in the
habit of enjoying field and other sports unsuited to their calling, more
of that body are acquainted with the social art of harmony than any
other dass of well-educated professional men in this country.

Sth. The following anecdote, given some time ago in a weekly paper^
on the authority of one of its correspondents, a gentleman then studying
at Francfort under M. Schnyder von Wartensee, shows how wide apart
are those faculties of the mind that are engaged in invention and in ex-
plaining. Indeed, a genius for creating in works of art, and a talent for
teacbing, are rarely united in the same IndividuaL M. Schnyder was a
pupil of Beethoven. The latter was engaged in examininff a composi^
tion by Schnyder, and silently making corrections in it. At length ha
came to a passage through which he mrew his pen, saving—' This should
be «o,' at the same time altering the notes. M. Schnyder immediately
saw that his master was right, but wishing to know why on principle,
asked for an explanatk>n. * I say it should be so* repeated the other
hastily. ^ Yes,^ said Schnyder, * I admit it fully, but I should like to
know why it should be so* On which, bursting into rage, and uttering
a great oath, Beethoven started up, exchuming — ' J tell you again it
should be so V

lO^A. There is no lack of royal composers in the present day. The
Princess Augusta has published six canzonets that are creditable to the
taste of her royal highness ; the Emperor Pedro has produced a mass,
and canzonets, marches, &c., in abundance ; the ex-Queen of Holland^
the sister-in-law of Napo]e<m, has shown ui print musical talent of a
superior kind ; and now the Crown Prince of Sweden, the son of the
rough and hwdY soldier, Bemadotte, has composed an opera, which ia
performing, and with genuine applause too, at Stockholm. The title ia
Ryru). Should this emanation of royal genius ever b^ heard in London,
how the small jokers will enjoy themselves in sportbg with the name y
If successful, we shall be told in half the journals, and hear at every
comer of the street, that Ryno has brought nlenty of ready rAina ;—tha*
no wonder that a work of a crown prince snould bring lots of money.
Should it £sul, the addition of a negative will save the joke firom sharing

THE MUSICAL LIBRARY.

tbe fate of Ae opei*; and it will also be uU^ tliat tboagh the Swedish
-fitmee may by right of birth sueeeed to a crown, yet that he will never
succeed in getting a crown by the birth of his opera, &c. &c.

Sept. I6th. Mr. Beckford, in his LeUenfnm liabfj a work written fifty
years ago, though only just published, and which now is read by eyery*
feodyi-«>tfacts -speaks of the JfedtnAn.*--* Those who hare never heard
tins Ofigbud sort of music, must and will remain ignorant of the most
bewitching melodies that ever existed since the davs of the Sybarilss.
lliey consist of languid, interrupted measure^, as if tke breath was gone
with excess of ra|pture, and the soul panting to meet the kindred soul of
some beloved object With a chiklish carelessness they steal into the
heatt before it has time to arm itself against their enervating influence.
You fancy you are swallowing milk, and are admitting the poison of
voluptuousness into the closest recesses of your existence— -at least SMoh
beings as feel the power of harmonious sounds are doing so. An hour
or two passed away almost imp^oeptibly in the pleasing delirium these
Syren rites inspired ; and it was not withaiit regret I saw tke company
disperse, and the spell dissolve.

Hie present lage of the scribbler of all these extravagancies (s. e. the
writer himself) is modinhas^ and under its prevalence he feels half
tempted to sail for the Brazils, the native land of these enchanting
compositions, to live in tents such as the Chevalier Parry describes in
hu agreeable little voyage, and swing in hammocks, or glide over smooth
mats, surrounded by bands of youthful minstrels; diffusing at every step
the perfume of jasmine and roses.'

18^. * In the Repertoire Medioo^ChirurgicaU of Piedmont, for June,
1834, Dr. Brofferio relates a case illustrative of the morbid effects of music*
A woman^ twenty- eight years of age, of a robust constitution, married,
but without children, attended a b^l which was given on occasion of a
rural f^te in her native village. It so happened that she had never
heard the muMC of an orchestra before. She was charmed with it, and
clanced for three days successively, during which the festivity lasted.
But though the ball was at an end, the woman continued to hear the
music : whether she ate, drank, walked, or went to bed, still was she
haunted by the harmonies of the orchestra. She was sleepless, her
digestive organs began to suffer, and ultimately her whole system was
deranged. Various remedies were tried to drown the imaginary music,
but the more her body became enfeebled, the more intensely did the
musical sounds disturb her mind. She sunk at last, after six mouths'
nervous suffering. It should be added, that the leader of the band
having occasionally indulged in a discordant capriccio for the amuse-
ment of his auditors, the notes which he played produced the most tor-
turing effect when they recurred to the imagination of the patient.
** Those horrid sounds!" she would cry, as she held her head between
her hands.

' There is nothing so very extraordinary in this case, as it regards the
mere repetition of sounds in the sensoriunij in consequence of a long-
cpntinued impression originally made ; but that it should be carried to
the extent of causing a nervous affection, terminating fatally, is what
seems to render the case unique. An anecdote is told of the celebrated
Madlle. Clairon, which has some analogy to the preceding. An
admirer shot himself on her account £ver after, as regularly as one
o'clock at night [in the morning] came, Madlle. Clairon heard the
report of a pistol. Whether she was at a ball, in bed asleep, at an inn,
or on a journey, no matter ; when the moment arrived the shot was
heard : it was louder than the music of the ball, startled her from her
sleep, and was heard as well in the court-yard of an inn as in a palace.'—
Medical Gazette.

FOREIGN MUSICAL REPORT.

VIENNA.

After the principal theatres of Germany had produced Boieldieu's
last opera Die Beiden Ndchte (Les Deux Nuits), it was somewhat
late in the day brought before a Vienna audience. Without dwelling on
the plot, which is sufficiently known, we will only observe that the
composition is spirited, pleasing, and melodious ; the instrumentation is
tasteful, and often striking in point of harmony,^ as might be expected
from the experienced author of the Dame Blanche; but their common
origin was sufficiently evident, and the composer^s greatest friends could
not acquit him of frequent and palpable reminiscences : hence the
impression, though favourable upon the whole, was not lasting, and the
existence of the work in the repertoire but transient. A new operetta,
Der Herzog von Gettem (The Duke of Yesterday), is as usual played
to empty benches. Campilli's fairy ballet, LiebestUrker eUs Zaubep-
macht (Love stronger than Magic), the music by Romani and Count
Gallenberg, was brought out at a considerable expense; the scenery
and costumes were splendid, most tasteful and of surprising beauty ;
these efforts were rewarded with decisive success.

Madame Fischer, of the Court Theatre in Carlsruhe, began the course

of her performances with MkobmVb Donna Anna.; .the reception which
she met with must have convinced her that we have not forgotten our
worthy countrywoman, and that we felt the greatest interest in the visible
jprogress she has made in her art.

The Theater an der Wien seems to feel the diminished interest whic&
its manager takes in the direction ; diverted as is his attention by other
speculations, there is no want of variety, certainly: we have almost
every day a newly-revived old piece, but the public, not findmg it$
account in these Sequent changes, remain at home. Among the new
engagements were ttie Demoiselles Dielen and Madame Fisdier, of the
Josej^stadt Theatre, as also Demoiselles Muzzarelli from Briinn.
The latter three ladies are each distinguished in their peculiar line, ill
which, however, no opportunity was given them of appearing, and so
they will, most probably, bid us an early adieu. . Nestroy has again
treated us with a new farce, under the title of MuUer der Kohlenbrennert
or Die Traume von Schale und Kern (MQller the Charcoal-burner, or
the Dreams of Shell and Kernel), the tendency of which piece is not
amiss — there is even some moral in it, for a wonder ; and its leading idea,
that an artist during his lifetime must starve in order to be honoured
after death, which is unfortunately based on a melancholy truth, deserved
a better treatment on the part of the author.

BERLIN.

Madame Schroeder Devrient has concluded her engagement, after
selecting for her benefit Bellini's Capuleii e Montecchi, in oider to
appear in what is considered one of her first characters, Romeo,
although this part is likewise executed by Mdlle. H&hnel on the KonigS" •
Uddter theater with great effect and success. The friends of Madame
Devrient were disappointed in not seeing her in any of GMck's operas^
several of which are particularly suited to her unrivalled dramatic genius.
As to the Capuleti, tne two first acts, owing probably to the mediocrity
of the music, did not create great sensation, but in the third act this
representative of the Tragic Muse excited the most intense interest and
admiration. Madame S. Devrient seemed to be inspired by a superior
power ; the scene at the sarcophagus of Juliet was tne highest triumph
of dramatic art. After a long repose Weber's Euryanthe was repro-
duced ; the beautiful music, and Madame S. Devrient's unrivalled per*
formance, rendered this representation a high treat to the public : we
could willingly indulge in a long catalogue of beauties, to which her
acting imparted the effect of enchantment, did our space permit such
detail : her departure for Dresden is sensibly felt by the treasury of the
theatre, which has since had recourse to comedies of Angely and old
operettas, performed to almost empty houses.

The KonigsstUdter theater, with the assistance of Madame de Metric,
has produced Bellini's Montecchi in the Italian language ; she gained
much applause in the character of Giuletta, and, after completing the
twelve representations for which she had been engaged, set out for
Milan. Auber's Liehestrank (Le Philtre) was the onlv musical novelty
on this stage : it met with little encouragement, the plot being insipid,
the music common-place, and too palpable an imitation of Rossini.
The public were much more delighted with the universally popular farce,
Lufhpacivagahundus ; the comicalities of the jovial triumvirate were
depicted to the life by MM* Schmelka, Beckmann, and Flock.

Kapellmeister Reissiger, from Dresden, has paid us a short visit
during his vacation, and produced in private circles a superb trio for the
pianoforte, and a quintett for two violins, tenor and two viok>ncello8y
both of his own composition : the latter distinguishes itself by its beau-
tiful melodic fluency and skilful elaboration. We are in daily expec-
tation of the production of his recent opera Die Fdzenmuhle (The
Mill of the Rocks), but the heat of the season, and the departure of a
numerous portion of the theatrical public to the country, seem to paralyze
all dramatic performances.

MUNICH.

The musical annaJs of this capital during the last three or four months^
if we except some performances of sacred compositions, are more barrea
than usual. On the stage the only musical novelties were the Capuleti
e Montecchi, the vaudeville Rataplan^ and the farce Lumpacivaga^
bundus; every thing else was repetition of old pieces. Although there
are some few good things in the Capuleti, the majority are very indif-
ferent. It presents no really affecting situations, no scenic development
of characters, nor any impassioned strokes of the musical pencil. The
representation was distinguished by careful study and talent. MdUe«
von Hasselt, in the character of Julia, was very successful, and the
choruses, as well as the orchestra, did their best. If the clapping of
hands and the calling out of the singers were the only tokens of real
worth, this opera would be pronounced a masterpiece, but if its value is
determined by the attendance of the public, we can. only say, that at the
second representation the house was not half-fiill, and at the thirds
entirely empty; a circumstance which seems to have decided its fate
among us. With Rataplan and iMmpadvagabundus it is not worth
while to fill our columns : these pieces can scarcely be called operatic
Santini has returned to us, and appeared with success as Leporello,
as Bartolo in the Barbiere^ and as Geronimo. in the Matrimonio^ but
their frequent repetiti(m renders them no longer attractive^

THE MUSICAL LIBRARY.

Oor eonoertt, like many other matters in thie part of the world, are
ladief in a retrograde than pro^preaaive condition ; the cause of which it
ie uBBeeaaaary to dwell upon m thia place. M. Chelard haa given a
grand eoncert, in which nothing but compoaitiona of hia own ware per»
formed. Hia overture to Jl^sbdh^ and the jua^ly celebrated trio of
the Witebes in the aame opera, were the beat pieces of the efening»
and exeei^ in a masterly manner. Hia Gredi Schlachiruf (CaQ to
Battle) produced alao a good effects

STUTTGART.

Hie only new representation of the season waa Roberi der Tatfif
(Robert le Diable), the performance of which, having long been
annoonced, was expected with the most intense curiosity. The firal
fcw perfinmances attracted immense crowds of professors, amateurs,
and play-goers in general, of every sex and age, from Stuttgart, aa well
as from au the surrounding country. The opera was executed by our
best sinaers, and by our numerous choral establishment, who had
studied the music with the createst care under the instruction of our
meritorious music-director Molique. Scenery, dresses, and machinery
were snlendid ; and yet, in spite of these favourable circumstances, the
opera aid not meet with the rapturous reception which had been antici-
pated^ The applause seemed to diminish at every representation, at the
fast of which, the sixth, the house was but moderately attended. Moses
in Egypt, by Rossini, and Lindpaintner's Vampyr^ have been repro-
duced with a new cast of characters, the latter under the direction of
the author himself, after his recovery from a long illness, on which
occasion he received the most affecting tokens of the participation of his
friends and the public. Without dwelling' on the catalogue of nume*
Tous well-known operas which were produced, we have to mention two
or three new ballets, viz. the Inmlaner (Islanders), the Bloede RitUr
(Bashful Knight), and the Graue MUnnchen (Grey little Man).

As visiters we heard M. Oberhoffer, of the Imperial Theatre of
Vienna, in the parts of the Vampyre, in Zampc^ and in Kaspar in the
Freuchutg. Mr. O. nosaesses a pleasing sonorous voice, appears to be
a solid musician, treads the stage nobly and with freedom, and received
well-eamed applause. Mdlle. von Fassmann appeared twice, namely aa
Camilla in Zampa^ and as Donna Anna in Don Juan. This lady also
is endowed with a powerful youthful, fresh voice ; her exterior is pleasing,
and, for a beginner, her acting very meritorious : the latter character was,
however, rauier above her present powera

The grand Musical Festival, which it was intended should take place
in our Cathedral, for the performance of an oratorio of Handel, or some
other classic sacred composition, was unfortunately postponed. With
respect to sacred music in general, the catalogue of recent performances
IS but insignificant : in the Catholic Church, however, we had a Maas
by Bilhler, which presented several good anid successful pieces ; and in
the Royal Chapel we had, among other choral jiieces, the ' Lord's
Prayer/ composed by the Court musician, Abenheim. The Society of
Instrumental Music gave a Concert in the Saloon of the Museum, for
the benefit of the young composer Louis Hetcb, now residinff in Vienna,
in token of their gratitude for the services rendmd by him wmle Director
of this Institution.

STRASBUR6.

If. Hyadnth Briee undertook the direction of Uie Frendi Theatre,. for
the fiist time without pecuniary aasistance from the City fmds, for the
aeason from 1833 to 1834 ; but his company could only be gradoalfy
and with difficulty rendered complete, as the public had rmeeted the
second tenor, Adolphe Bemaux, and the baritone, Welch, whoae piaee
coald only be aupplied after some lapse of time. These impediments
and the mediocrity of some of the singers rendered our Freaeh Opera
but little interesting ; Le Stmunt and Robert le Diahle were the only
new repieaentatiooa upon which a considerable degree of care waa be>
stowed, hot die older operas were brought out wim unexampled negis>
gence and imperfections, the numerous instances of which ii ia unneces-
sary to record. After the close of the French performances, the
O e imau c ompan y , undertfae di rectio n of M. WeinmftUer, from Anga*
burg, began its representaliona, but here we also met with various
disappointments: instead of M. Chehird, who waa announced aa leader,
we were obliged to be contented with a yoang beghmer. If. Kirehacv,
wha often mistakea the tempiy and Demoisellca Podleski from dm
Maniheiai stage, and Loom Gned, of the FWuMlbrtThealia, psesaoled
themselves at a lato period of the season; the wfftetnmem of the
latter, however, impreseed the pn M icw it h a sense of the ffreat loss they
had sustained by her long abeenoe. Adomed with every charm of youth,
her powerful organ has an adnirabte eftet in oarla<galKsat»By and the
pubne le m raptures whenever she presents herself ow Inesi^pek On the
12Ui June Mozart's Requiem was performed in its complete state with
ffreat solemnity in our fine cathedral the Minster, in honour of LafayAte.
Though in any other locality the number of performers might have been
cooaiderable, yet in this vast edifice the effect did not c o rre sp ond wMi the'
means employed. It was only in the immediate vicinity of the orchestra,
nnder the excellent direction of Mr. Kapellmeister WackenthaJer, that
all the beauties of this masterpiece could be

AIX-LA.CHAPELLE.

It Ferdinand Riea has been appointed Director of the Ordiestra and
of the Singing Academy, with a sahury of 1500 thalers, abont 9ML .

STOCKHOLM,
Among the newest dramatic, pieces, none has. eaosed sanmsb inieinat
«MU4niwn K> much applause aa the opera Ryno^ by the Court Matdial
▼on Beskow. The compontion of the music had been begun by the
talented composer Brendler, and after his premature deiUh was oompieled
by the Crown Prince of Sweden.

POTSDAM.

The second grand festival of the Brandenburg Votel Society took place
on the 5th and Qth June, at Potsdam, under the management of M.
Sch&rtlich. This Society, whkh was founded only last year, is com-
posed of thirty branch societies established in various parts of the Elec-
toral dominions, the members being professed church singers, school-
masters, organists, &c. These bnmch societies have menr regular
indifidual meetings, and assemble once a year in a mass, to celebrate
tiieir grand festival. On this occasion the first day was devoted to the
sacred festival in the court and garrison church. The performance
began with a portion of the Liturgy by die chorus ; tiien followed a
fugue on the organ, played by M. HOnnicke; after whidi was sQUff a
very e£Fective but simple motet of Bemhard Klein, the first part of which
was a capeliAy the other accompanieAlby the organ and wind instruments;
the effect produced by this composition waa very grand. To this auo-
ceeded a motet, by Professor Dr. Marx, for six voices, without accom-
paniment, which, as regards modulation and interlacement of the parts,
appeared to be in imitation of the ancient style of Christian cnurch
music ; this motet, though Tery dlfiicuU, was most admirably sung.
M. P. Belcke then pUyed a fantasia on Che trotobone with orgaii ac-
companiment, in a finished manner ; and, after another grand motet by
Bemhard Klein, the first part of the day's festival closed with a hymn
for double chorus and solos, with instnimental accompaniment, — a happy
effort of the genius of Dr. Friedrich Schneider, who composed it for the
occarion, and conducted ito performance. The second part commenced
with the * Holy,' from the Liturgy ; then M. KChler, from Breslau, pbyed
a fantasia upon the organ, on the subject of the Hallelujah in Handel's
Meuiah^ A very fine melodic hymn by Sch&rtlich followed, being sung
with great expression* M. C. G. Belcke, from Altenburg, then executed
with much feding an adagio for the flute, with organ accompaniment;
after which another motet of Bemhard Klein was given ; and the per-
formance closed with a hymn, by A. Niedhardt, with accompaniment of
wind instruments, of a character rather light and pleasing than sacred,
whidi produced an admirable effect, the solos being delightfully sui^ by
MM. Mantins, SllUnen Hammermeister, and Zwhiesche. After the
festtvaU which terminated al two o'clock,, a dinner waa spread for
460 persoaa in tiie garden of the Teutonia Lodge, under a tent adorned
with the Pm s s tan aims. Among the invited gueM were the Chevalier
Spoalini, Slapelhneister Fr. Schneider, Muaic Director Bungeahsgen,.
Kaprilmeister Reissiger, M. Didike from Dessau, Prc^essor Dr. Marx,
M. K6hler, principal oi^^ist in Breslau, M. D. Noderhaidt^ M^
dbschncr, and several amateurs of Berlin, Potsdam, Ibc. Mirth,
cheerlul conversation^ and good singing, contribttted to enliven tha^

The festival of the second day began at five o'clock in the aftcmo«v
aitheTomow, on the Have), a place of entertainment not fiur from
Pelscfans, whither i^iwards of 8000 indiriduals repaired by land or water
to* witaeaail. The pieces ef musie performed were Spontini's anknated
Fastisal Mardi,. for military instruments : Konigdied (King's Seng),
for two ehoffuees, by M. Schftrtlich, without accompaniment; a Saerad
aeog, set to nMsie by L P. Schiaidt, and particufaurly adapted for mala
vuka s, with wind instraoMnt aeeowpaniment^, in thie the choruses sang
poveiy, correctly, and with expsession, and the accomfmniment told well ;
the voiees,howaver» in the aolopaits» were but faintly heard in the open
airv-^instnuDsaeaiaalo-CffFaana, firom Der FreiscMis^by M. F. Bekke^
an Aa twinbo n a» with wind inelramant aeeottpan imcata ; Hamhsf
Ch a eu B» by Ci s whne r^ lively and p^niar ; Battle Song, by OirsciMMr;
ToKdiikncc^ forwind iMtromenla; Huntmg Song, by Sehirtliei^ M^
■alnral^ and f leasi ng ; a song^ by Fr. Schneider; and the festival eon-
eluded with Spontini's National Song, ' B(Mrussia.*

ZBITZ.

A voeid festival was cdebrated here on die 31st May, m the dkorcfc,
which, Ihoogh rather small, ia well adapted for such a purpose; the
performance took place under the direction of M. Rector Brtuttgasai
mm Lucca, iii Allenburg. After a short iatrodnetion on the orffaa, a
choral composition of M. Sachse, of Altenburg, was given, and tins waa
firilbwed by a psalm, by Bemhard Klein, which, notwithstanding ito
exceeding difficulties, was admirably given. After this was executed a
motet, by a young composer from Altenburg, M. Hossler, a very pro-
mising production ; and the first part concluded with a motet, with
double cnorus, by Schicht.
na pi e saa fo n stiiuli iig the second part were a hymn, by M. Feller,

«4

THE MUSICAL LIBRARY.

organist in Eisenberg; SUnctui and Ho$anna in ExeeUU, by Hasslinger;
m choral composiiion, with variations, for the organ and bassoon, by
Music* Director W. Bach, of Berlin; and a Te Dmm, by Knecht, for
two male choruses. The singers, 367 in number, consisting of pastors,
schoolmasters, and a few dilettanti, were the members of twelve different
vocal societies assembled for this occasion.

The Maodeburo Festival, announced in our July number as fixed
for the 28th, 29th, and 30th May, was, in consequence of unforeseen
occurrences, postponed till the 2nd and 3rd July.

Hie Hbidblbero Festival took place as announced; Haydn's Creation
was very ably performed, and the audience, consisting of 2500 persons,
jvere ^gbly gratified.

THE DRAMA.
English Opera House.

LoMo before Nourfahad had exhausted ito attractive powers, tbe active
manager of this house was prepared with another opera, and produced
itoQ the 25th of August. The title is The Mountain Sylph; it is
written by Mr. Thackeray, and composed by Mr. Barnbtt. The
following are the characters : —

DbJMiM, the betrothed iorer of J«iM» . • • Ma. WiLtoir.

,Ckritiitt hit rival • • • • ' • • • Ma. KsBLar.

Bmmt Chmriu •«••••• Mas. GaiFVfTBS.

..Amm^ her daughter •••••.» Mim SoMsaviuJi*

jUimrM Ma-SuTTOK.

.Seh • • • Ma. H. Pkilupi*

Etkeria, the Sylphid Qoeea • • • • • Mne Novbllo.

JBoA'e, the Mountain Sylph MjM£.Ro«aB.

The scene is laid in a village in one of the western isles of Scotland.
*The story differs only in the denouement from La Sylphide^ the ballet
which Madlle. Taglioni's dancing rendered so popular during the late
season.

Donald is attached to JetnV, and on the eve of marriage with her,
when a beautiful Sylph meets him, and by a single salute wins his affec*
tions. His new passion takes full possession of his soul; but after a
violent struffgle he determinet to fulfil his engagement with Jesnet and
IS on die pomt of signing the marriage contract, when the Svlph, unseen,
flies away with it, and speedily after persuades Donald to fly awav with
her, to her mountun retreat He has offended Hela, an apparently de-
crepit old man, but in reality the wizard of the glen, who now seeks re-
yenae. ChriitU^ a worthy dolt, is Donalds rival, treated with a pitying
kind of contempt by /esfte. The Svlph, when she has succeeded in
carryfaig away Donald^ torments him by a few coquettish pranks, which
almost drive him to despair ; when Hela appears, and, pretending to
letum good for evil, gives him a scarf which will bind the beautiful
nymph to good behaviour. The moment she is encompassed in iu folds,
her wings drop off, she loses her power, and becomes the prey of the
infernal agents otAdaroth^ who is neither more nor less than Beeheebub
himself, under another name. Hope seems now extinguished in the
bosom of Donald; when his kind friend, E^erta, Queen of the Sylphic
empire, appears, and presents him with a charmed rose, by means of
which he gains admission to the subterranean palace of Asiaroth^
^Anglici — the place never named to ears polite,) and, invisible to all, de-
feau the powers (ill named) of darkness (for they must be in a perpetual
blaze) — saves the Sylph fiom the dagger of Hela — conveys her to that
region situated between the infernal aim supernal, and finally weds her—
ahe only losing her immortality in the conflict through which she has
passed. Poor /enie, seeing her case hopeless, consents to make honest,
•stupid Chrittie happy, according to the phrase ; and the piece termi-
nates, d Fordinaire, m a double marriage. As a whole it is not abso-
lutely vokl of interest, because the end does not stare one b the foce at
the beginning; but we cannot say much for the .morality of the plot:
it might not unaptly have been called Fiddiiy Punuhed^ and Incon-
Money Rewarded. Donald is a very faithless fellow, gentle Jeaeie a
victim, and good^hearted, silly ChrieUe is in the end pretty sure of being
made a — — very uncomfortable person. Perhaps, however, the author
holds with that sometimes profligate, but ofien pleasant pagan, who

says, —

'FttjoriariiletssBaatum
Jupiter.' .

We, let it be understood, belong to a totally different school of ethfes..

Having thus communicated the plot, it is time to speak, and more
•eriously, of the music.

Most of the compoutions of Mr. Bamett that have come under our

notice, have been produced rather with a view to present sale than
future fame ; thougn we have seen songs of his that prove him to be
equal to much greater efforts than the ordinary music market ever calls
into action. He has always. manifested a taste for melody, and in his
later publications a vigour of accompaniment, denoting an increased
knowledge of the capabilities of harmony, is often visible. Neverthe-
less, his present work has much surpassed our expectations, and leads us
to hope that, with the encouragement he has met with from the public
and tne press, he will proceed onwards^ and assist in redeeming the
musical character of the nation from the reproach which the state of our
dramatic music for many ^^ears past has, we fear, merited. His pre-
cursor, Mr. Loder, has done much. Mr. Bamett has well upheld the
character which the English Opera House obtained by Nourjahad; and
we hear that a third work is soon to be brought forward, that is likely
to add to the laurels reaped by the theatre from the former two. We
may therefore reasonably expect a revival of that genius so conspicuous
in our composers formerly, when Ame, Linley, Arnold, Shield, Jackson,
Storace, and Bishop in his early dap, supplied our lyric stage from
their own resources, and rendered importations firom Italy, Germany,
and France, unnecessary.

The music of the Mountain Sylph is uniformly good, the overture
excepted. The melodies are nearly all very pleasing, and some of them
quite new. The instrumentation throughout is rich, ingenious, and
occasionally even too full— over affluent. The concerted pieces are of a
superior character,' displaying a skill in score-writing, and a knowledge
of effect, that seldom are attained by any composer, and still more rarely
till after long experience. We must speak with more reserve of the
quantity of actual originality exhibited in this opera : reminiscences, aa
tney are delicately termed, present themselves not unfrequentiy; but
more than one instance occurs in which the composer has boldly bor-
rowed. For instance, the solo, * Break my heart,' begins in the notes
of Paisiello's ^ Gl' affetti miei,' or * For tenderness form'd ;'4the con-
clusion of tbe trio, ' This magic- wove scarf,' is, almost note for note, from
Don Giovanni-^* Protegga il giusto cielo ;* and the duet, * Some magic
her sense steals away,' forms its commencement on Mozart's air,
* L' amor e un ladroncello.' The music in the incantation scene could
hardly escape being in some degree written on Weber's model. It is
mightily indiscreet to introduce such scenes : none will probably ever
eqwil the original, and everything of the kind, for some time to come,
must be either an avowed imitation or a lamentable failure. The whole
of this was, most prudently, much curtailed on the second night. But
to return to the favourable side: Mr. Bamett has gained much in the
estimation of the sensible portion of the public by attention to the
meaning of the words, and to their due accentuation. He has read his
author well, has studied each character, and adapted his music accord-
ingly. The pieces given to Hela have, by a contemporary critic, been
thought rather unfitting; but the wizard once knew virtuous days, when
the foelings of humanity were alive in him ; and though abandoned to
magical practices, and sold to the infernal powers, he may be allowed
to look back to a time before disappofaited love had converted him into a
fiend — when he was, as he sings,—

* A flowret gay as rare.
With heart as mild
As infant child, ■
And features too aa fair.'

Of the performers, Mr. H. Phillips, it is almost needless to say, leaves
nothing to be wished. Miss Somerville sings and acts her part in a
very nalve^ pleasing manner, though she sometimes labours too much,
particularly when anything requiring execution falls to her share. Miss
£. Romer is charming throughout ; and Mr. Wilson acts his part re«
markably correctly : he is stanch, too, in the concerted pieces. Deli-
cacy in vocal style will, let us hope, come with time and experience.

The opera is got up most liberally and well, and is performed every
night. Indeed, we learn that, even in the month of September, when
London is comparatively a desert, the audiences have regularly increased
in number at each repetition of the piece.

NOTICES TO COBBBSPONDSNTS.

Wb beg leave to fledine, though not without many thanln, the commnnifstions of
W.J.W.,aiidL.P.

Surely B. B. cannot serionaiy suppoae that hia Glee and Song are admi«ible !

The aeeount of the AiK-la^ChapeUe Music Meeting, and Musical Aneedetss of
Napoleon, are postponed till neat Number for want of room.

Erroim m our Lof/.

Flue .62, eoloma 1, line 20, for ipef, read omf.
— §7, ■ 1|— ft from bottom; after '

sceonpanhnenfs,' isad era.

LONDON: CHARLBS KNIGHT, 22, LUDGATB STREBT.

n WILLIAM CLOWBS^ Dvxa SmaiTi

MUSICAIi lilBRARY.

No. VIII. NOVEMBER, 1834. Price Sixpence.

Page
The Music of Part VIIL' • • • • 85

Hull Musical Festival 87

First Day 87

Second Day •••»•• 88
Third Day 88

CONTENTS.'

Page

Birmingham Musical Festival • « • 88

First Day 90

Second Day 91

Third Day ••••••• 93

PagS

Foorth Day • • • • • • • ^3

Letter to the Editor 94

Do ^ • . 95

Foreign Musical Report • • • • 95

THE MUSIC OF PART VIII.

Air, with Variations — (Page 129).
The French air, 'Charmante Gabrielle/ the composer of which
seems to be unknown, is, most deservedly, a favourite with all who
are acquainted with it. Mr. Onslow has shown his discrimina-
tion in adopting this as a theme, and his taste in the variations
he has written on it, of which we have selected four that are most
likely to prove generally pleasing.

GEORGE ONSLOW, ESQ.,

is by birth a Frenchman, born at Claremont, in Auvergne, in
1784, but of an English and noble family. His father, the
Honourable Edward Onslow, son of George, Lord (afterwards
Earl of) Onslow, settled abroad, where he married a French
lady, and the 6rst fruits of this union having when very young
displayed a decided genius for music, he received instructions at
Hamburg from Dussek, and afterwards in London from J. B.
Cramer. His knowledge of the theory of music he gained from
M. Reicha, professor at the Conservatoire Royale. He commenced
his career as a composer, by music for the piano-forte, and two
duets, among other works, are undeniable evidence of the highest
talent. His fifteen quartets and ten quintets, for stringed instru-
ments, are further proofs of his genius and knowledge, which
were afterwards still more conspicuously displayed in two operas,
L' Alcalde della Vega, produced in Paris in 1824, and Le Colpor-
teur, performed in the same city in 1827, with the most unequi-
vocal success. Mr. Onslow married a wealthy lady of Rouen,
which city he has chosen as his place of fixed residence ; ' and
though,' says his biographer in the Harmonicon, * an artist in one
strict sense of the word, yet be has never made his talent his
calling. He profits by his compositions, it is true, as Lord Byron
did by most of his poetry, but neither the one is a musician, nor
was the other an author, by profession. Not that it would dero-
gate from either to be so considered, for the world is fast emerging
from that state of barbaric ignorance when men were valued for
their titles and additions, and not according to their personal en-
dowments and power of adding to the stock of human happiness.'

Introduction and Rondo— (Page 133),

the former from the second sonata of Op. 33, the latter from the
second of Op. 25, compo^d by

MUZIO CLEMENTI.

This highly-distinguished musician, who may be considered as
the father of the piano-forte, was bom at Rome, in 1752 it has
been stated, though we have good reason to think that his birth
ought to have been dated four years earlier. His father worked
in silver, as an embosser and chaser of figures and utensils for the
service of the church ; and he had a relative, Baroni, principal
composer at Su Peter's, from whom he received his first instruc-
tions in music. At nine years of age he was appcMnted to an
organist's place in his native city ! And three years later he
composed a mass for four voices. About this time his talents
attracted the notice of Mr. Peter Beckford, then travelling in

Italy, to whose protection his parents consigned him, and he was
taken to the seat of that gentleman, in Dorsetshire, where he re-
ceived the most liberal education ; ai\d in the society of a family
as much distinguished by literary habits and taste as by wealth,
he acquired that love of the belles lettres and of science which
characterized him to the latest period of his life. At eighteen he
composed his Op. 2, a work which it is needless to eulogize ; and
though now attainable by all moderately good players, was, when
first published, declared by J, C. Bach, Schroeter, and others of
the same order, to be too difficult for them to attempt. Shortly
after this he was engaged as accompanist on the harpsichord at
the King's Theatre. In 1780 he made his first tour on the Con-»
tinent, visiting nearly all the principal cities of Europe *. During
the progress of this he wrote, in Paris, his Operas 5 and 6, and in
Vienna his Operas 7, 8, 9, and 10. On his return to England he
published his Operas 11 and 12. In 1783 he made a second vis^it
to the Continent, and, returning the following year, printed many
other works. In 1800 the house of Longman and Broderip
having failed, a new firm was established, at the head of which
Mr. element! placed himself, and there continued till within a
short time of his death. In 1802 he went for the third time to
the Continent, remaining abroad about eight years. While in
Berlin he married his first wife, but had soon to regret her loss
in childbed of a son, who reached man's estate, and promised to
be the source of much happiness to his father ; when, by the acci-
dental discharge of a pistol, his life paid the forfeit of an incautious
use of fire-arms.

To dissipate the grief occasioned by the loss of a beloved wife,
the widower had recourse to travel, and set out for St. Petersburgh;
but very speedily left Russia, and proceeded to Vienna, whence
he was soon called by the death of his brother, which rendered
his presence in Rome necessary. In 1810 he returned to Eng-
land, and in the year succeeding entered again into the matri-
monial state. He now published other works, and among them
his Practical Harmony, in four volumes, and his Oradus ad
Pamassum, in three.

Mr. Clementi was one of the founders and directors of the Phil-
harmonic Society, to which he presented two symphonies, and every
season conducted one of the celebrated concerts of that institution.
In 1827 the musical profession, as a testimony of affection and
respect, invited him to a dinner at the Albion Tavern, and
during the evening he was prevailed on to sit down to the piano-

* In Vienna Clementi heeama acquainted with Mosart, with whom he performed
hefore the emperor, Joseph II., and the grand dnke (afterwanls emperor), Paul of
Ruisia, and his consort. On one occasion, when the imperial trio only were preseut,
Clementi and Mozart were desired to play. Some question of etiquette, as to who
should begin, arising, the emperor decided it by calling on Clementi, who, af^er pre-
luding for sometime, performed a sonata ; and was followed by Mozak, who, without
any other exordium than striking the chord of the kejr, also played a sonata. The
grand duchess then said that one of her masters had written some pieces for her which
were beyond her powers, but that she should much like to hear their effect ; and pro-
ducing two, Clementi p|»yed one and Mosart the other, at first sight. She next pro-
posed a theme, on which, at her request, the two great masters extemporised, alter-
nately, to the astonishment and delight of their imperial audience. The plan was
eridentlv premeditated, and haidl^ fair towards the eminent professors, who were thus
surprised into immediate competition. The result, however, was equally honourable
to both, between whom existed no unworthv feeUng of jealousy, and creditable to
them as artists, on whose talents no demand, however unexpected or unusual, could be
too gteat— (fifcfo tiarmomctm, is. 184.)

THE MUSICAL LIBRARY.

forte, when, choosing a subject from Handel's first organ concerto,
he extemporized on it in a manner that proved how little his
powers of imagination were affected by time, and excited the
wonder of a very numerous company of judges assembled on the
memorable occasion.

Mr. Clementi died on the lOth of March, 1832, after an illness
of short duration, though his mind had for some time previous
been gradually yielding to the attacks of age. His remains were
deposited in the cloisters of Westminster Abbey, the three choirs
of London, and a great number of his brother-professors attending
to pay the last tribute of respect to so valuable a man, and so
eminent a composer.

Andante — (Page 137),

or the Surprise movement, from the third of the twelve grand
symphonies, written by Haydn for Salomon's concerts. The effect
of this is greatly impaired if not quite destroyed, when played
too fast; and much will depend upon due attention to the marks
of staccato and tenuto. The first time this was performed in the
Hanover Square Rooms, some forty years ago, or more, the sud-
den unexpected loudness of the chord at the end of the first
strain caused a lady to faint away. From this circumstance, it is
said, it took the name of The Surprise.

March— (Page 140).

For this spirited and original composition, we arc indebted to
a correspondent, who did not specify the work whence it is taken.

FRIBDRICH HEINRICH BlUUEh,

-was bom in the Electorate of Brandenburgh, in 1765. Public
report has always assigned to him as a father, Frederick- William
11. He was intended for the church, and, during two years,
applied himself to theology at the university of Halle, but his
natural eenius was for music, and nature finally triumphed. His
first ana only master was Nanmann, kapellmeister at Dresden,
under whom his progress was so rapid, tnat, in two years, he re-
turned to BerHn, and presented to his royal patron an entire
oratorio, Isaaco, the drama of Metastasio. On the retirement of
Reichardt, in 1795, he was appointed to the situation of iapell-
tneister at Berlin. In 1797f his Semiramide was brought out in
a most splendid and successful manner, at the Opera House of
BerUn, and at once stamped his reputation. But his TrausT'
Cantate, or Funeral Anthem, on the death of Friedrich-Wilhelm
11., published in score at Beriin, in 1798, is his greatest work.
After this, he composed a Te Deum for the coronation of the
present King of Prussia, which was shortly afterwards followed
oy his nKMt favourite opera/ jPancAon, the text by Kotzebue,
which immediately became popular in every city on the Continent.
Ib 1801, Himmel made a journey into France and England,
and afterwards to Vienna. In this country he composed some
sonatas, by agreement with two music-publishers. He died at
Berlin in 1804.

Hinmiel possessed a fertile fancy : the list of his works, of his
ofere, reaches the number 77. Two sets of his sonatas were once
exceedingly popular, and many of his songs will never fall into
neglect, while beautiful melody and well-expressed words continue
to please.

Minuet and Trio— (P&ge 142),

frt)m Dussek*s sonata. Plus ti?fra, written as an answer to Woelfe's
Ne plus ultra. This charming composition will only prove diflS-
cult to those who are awe- struck by crowds of accidental sharps
and flats. It will amply repay the trouble of such as wisely de-
termine to overcome impediments that yield to the exercise of a
little patience.

Air— (Page 121).

Charmante Gabrielle,
Perc^ de mille dards, ^

Quand Im gloire m'appdle
Ala suite de Mars:

Crnelle dc^partie !

Malheureux jour f
Qae ne sufs-je sans vie^

Ou Bans amour I

L' Amour, sans nuUe peine,
M'a, par vos doux regards,

Comme un grand capitaine
Mis sous ses ^.tendarts.
Cruelle d6partie 1 &c.

Si votre nom C(;Iebre

Sur mes drapeaux brilloit,
Jusqu'au de-)lt de TEbre

L'Espagne me craindroit.
Cruelie departie ! &c.

4.
Je n^ai pu, dans la guerre,
Qu'un royaume gagner ;
Mais sur toute la terra
Vos yeux doivent recfner.
Cruelie dc^partie ! &c.

Partagez ma couronne,
Le prix de ma valeur ;

Je la tiens de Bellone,
Tenet-lfik de mon coeur.
Cruelie dclpartie ! &c.

Bel astre que je quitte !
Ah! cruel souvenir!
Ma douleur s'en irrite,
Vous revoir ou mourir.
Cruelie d(;partie ! &c.
7.
Je veux que mes trompettes,

Mes fiffres, les Helios,
A tons momens r^p^tent
Ces doux et tristes mots ;
CrueUe departie ! 8ic.

. These verses, addressed to the fair Gabrielle d'Etrees, duchesse
de Beaufort, are attributed to Henri IV*. The following repl^
is, by M. de Lussef, ascribed to that celebrated beauty. """ "
sung to the same air«

It IS

H^ros dont la prt^ence

Fait mes plus doux plaisirs.
Que ta cruelie absence
Me codte de soupirs !
Que ne puis-je te suivre

Dans les hasards !

Ou bien cesser de vivre

liOTsque ttt parts !

Quoi ! toujours aux allarmes
Tu veux livrer mon coeur !
Le moindre bruit des armes
Le glace de frayeur.
li n'est point de remade

A m<m tourment.

Si le guerrier ne c^de

Au tendre amant

Quand la fiere Bellonne

Expose tes beaux jours,
Mon tendre coeur frissonne
Des dangers que tu cours.
Que ne puis-je te suivre

Dans les hasards !

Ou bien cesser de vivre

Lorsque tu parts !

Alors que la victoire

Te rend 2i mon ardeur,
J'ai de la peine & croire
L'exc^s de mon bonheiir.
Quand I'amour nous engage

D'un noeud si fort.
On craxnt encor I'orage^
Etant an port.

The author of the air, as we have above observed, is unknown*

Canzonet — (Page 122).
FideUty*

While hollow burst the roshing winds.

And heavy beats the shower.
This anxious aching bosom finds

No com&>rt in ils power :

For, ah ! my love, it little knows

\fhat thy hard fate may be ; .
What bitter storm of fortune blows,

What tempests trouble thee.

A wayward fate hath spun the thread

On which our days depend,
And darkling in the chequer'd shade.

She draws it to an end.
But whatsoe'er may be our doom,

The lot is cast for me,
For in the world, or in the grave,

My heart is fix'd on thee.

This is the sixth of Haydn's first book of canzonets ; the words
by Mrs. John Hunter. {Vide page 15.)

Duet— (Page 126).
As I saw fair Clora walk alone.
The feathered snow ctfme softly down,
As Jove, descending from his tower.
To court W in a suver shower.
The wanton snow flew to her breast
Like little birds into their nest ;
But bemff o'excome by wiiiteness there,
For grief dissolved into a tear.
Thence falling on her garment's hem,
To deck her, froze into a gem.

* Heniy was t^tendeily attached to hit mitbess, that he entertained setunis
thoaghia of taisibg her to the thioue. Het sodden death prevented hia attemptiiii^
to lealixe hia wiahea.

f See Rtcueil de Romaneu HUtorijmetj &&

THE MUSICAL LIBRARY.

We have not been able to trace the author of these verses. The
first six lines, differing slighdy from the above, and set as a three
Dart 801^ by Lawes, appear in Playf<»tl's Musical Campanwn^
1673. It is probable that they were somewhat altered^ and the
Smit last lines added^ when re-set by

OEOR6B HAYDEK,

Trho, Sir John Hawkins tells us, was organist of Bermondsey,
and published, about the year 1773, three cantatas, *the first
whereof was sung by one Bat., or Bartholomew, Piatt, a favourite
singer with the vulgar, in a pantomime called HarUqmn Director,
performed at Sadler's Wells, beginning "A Cypress Grove, whose
melancholy shade," a composition which would have done honour
to some of the ablest masters of the time. He also composed a
aong, called *' New Mad Tom*," beginning, *' In my triumphant
chariot hurl'd," which the same Bat. Piatt was used to smg at
Sadler's Wells, dressed in the character of a madman, to the
great delight of all who mistook roaring for singing. There is
also extant, of Hayden*s composition, a pretty song, in two parts,
* As I saw fair Clora," which is well known to the proficients in
vocal harmony:— (HisL of Music, v. 179.)

Round — (Page 128).
Sweet enslaver, can you tell
How I learnt to love so well ?
In the morning when I rise.
If the sunshine strike my eyes.
All that pleases in his view
Is my hope to look on you.

Who the author is of this amorous extravaganza does not appear.
The composer is Luffman Atterbury, of whom we shall have
occasion to speak hereafter.

Glee— (Page 129.)
Mark the merry elves of fairy-land,
In the cold moon's gleamy glance,
They with shadowy nu)rr]ce-dance ;
Soft music dies along the desert land.
Soon at peep of cool-ey'd day.
Soon the num'rous lights decay.
Merrily, now merrily,
After the dewy moon they fly.
The music is by Dr. Callcott,

Aria— (Page 132.)
Yon eager swain for toil again

Prepares with op'ning day :
O'er furrows long recounts his song,

And floats in air away.
With measured pace and manly grace,

The seed he casts around.
Where blade and ear shall soon appear.

And wave o*er all the ground.

The ' Husbandman's Song/ in Haydn's Seasons. The above
words are entirely altered from Baron Von Swieten's English
translation of bis German verses f . It is hardly necessary to point
out to the reader, that this motivo furnished Signer Rossini with
the subject of the most favourite of his compositions, 'Zitti ! Zitti !
piano I piano !' in // Barbiere di Siviglia, It is, perhaps, equally
superfluous to say, that the accompaniment is the andante of the
composer's third grand symphony, a combination as happy in
eflfect as ingenious in contrivance. — (See page 137 of Instrumen-
tal Music).

May Song— (Page 136.)

Now nature shines divinely bright !
Now smiles each field in the sun's clear light !
Each teeming bough is with blossoms rife,
Each hedge is fill^ with the sound of life ;
Each heart feels pleasure without alloy :
O sun ! O earth ! how I pant with joy !

* 8m p. 28 of this Snppleinent The ' Nev Mad Tom' it ths eontiniuiAioii of
INncttU't Cantata, now always siuff by Mr. Bcaham as a part of it.

t Tbeie words, fint used at the Binningham Festival in 1820, were from the pen
Cf ^ A fHend to the Charity.' We trust that we shall not be thought indiscieet in
addiog, that this jiidicioui firiend is the present Rev. John Webb, M. A.

Oh! love is fair as the clouds that glow

With maming's ray by yoo nNwntatn's blow;

The verdant plain all his bounty feels»

His flow*ry breath through the wide world steals.

O maiden, maiden^ how I love thee !

Thy glad eye sparkles — thou lovest me !

The lark loves song, and his field of blue ;

The flower, heav'n*s breeze, and the monung dew-^

And thus I love thee with all my heart*

Thou who canst joy — aye, and youth impart.

To dance or sing I m inspired by thee —

May'st thou be happy, as thou lov'st me i

A translation of the Maygesang of Goethe, made by John Oxen-
ford, Esq., to suit the air^ as composed by Beethoven to tfao
Gr^rman words.

Tweed-Side, harmonized as a Glee — (Page 138).
1.
What beauties does Flora disclose !

How sweet are her smiles upon Tweed !
Yet Mary's — still sweeter Uian those—

Both nature and fancy exceed.
No daisy, nor sweet blushing rose,

Nor all the gay flowers of the field,
Not Tweed gliding gently through those,

Such beauty and pleasure does yield.

Tis she does the virgins excel,

No beauty with her may compare ;
Love's graces around her do dwell.

She's fairest where thousands are fair !
Say, charmer, where do thy flock stray t

Oh ! tell me at noon wliere they feed ;
Shall I seek them on sweet winding Tay,

Or the pleasanter banks of the Tweed ?
Written above a century ago, by

ROBERT CRAWFORD,

of the house of Achinames, who was, says Tytler, drowned ia
coming from France. ' The Mary he celebrates was,' Buroa
states, ' Mary Stuart, of the Castlemilk family, afterwards mar-
ried to a Mr. John Relckes.' We have only inserted the first
and last stanzas of the song, as selected by the harmonixer, the
late Joseph Corfe, organist of Salisbury Cathedral^ and on^
of the gentlemen of the Chapels-Royal.

HULL MUSICAL FESTIVAL.

The great and opulent town of Hull, long wishing to share with
other places in the county the enjoyments and ecllt of a musical
festival, and possessing a fine Gothic structure— the laigest parish
church in the kingdom, — ^well calculated for the purpose, as weU
as an excellent newly-built concert-room, succeeded, the latter
end of September, in getting up a meeting, with a view to raise
funds for the completion of the splendid east window of Trinity
Church, and in aid of the General Infirmary ; and though the
laudable object was not accomplished, the gentlemen who planned
and directed the business may console themselves by reflecting^
that the failure is not to be imputed to mismanagement, but to a
report, raised for very sinister purposes, that the cholera was
raging in the town, and rendering it unsafe for strangers to enter,
which deterred hundreds from being present at any one of the
performances, morning or evening.

That there was no want of spirit or judgment in making the
various engagements, will be evident from the following names: —
Madame Caradori Allan, Miss Masson, Miss C. Novello, and
Madame Stockhausen; Messrs. Braham, Hobbs, Machin, and
H. Phillips. Mr. F. Cramer led the band, and among the iur
strumentalists were Messrs. Lindley, Dragonetti, Nicholson, G»
Cooke, Willman, Piatt, Harper, Uhipp, &c. The chorus was
remarkably strong, selected from the various societies in the
county, and under the direction of Mr. Skelton ; and Sir Q. '
Smart was the conductor.

First Day. — ^Wednesday Morning^ Sept. 24th.

The performance began with a selection from Neiikonmi^a onip>
torio. The Mount Siwu, or The Ten CommandmeniM, an miequal

I 2

THE MUSICAL LIBRARY.

work, parts of it reaching the sublime, while others are rather
commonplace. No one understands better the character of the
brass instruments than this composer, but he is rather prodigal
in the use of them. In the present work, they lose much of their
effect, from being so frequently employed, lliis was, as a whole,
very accurately perfomffBd ; a very few slips in the chorus did not
surprise those who know how difficult it is to make a work of the
kind go well till it is pretty familiarly known.

The second part consisted of an ode. The Transient and the
Eternal, by Andreas Romberg ; and a selection from an oratorio,
by Kanzen, The Hallelujah of the Creation. The former is a
work of very considerable genius ; the melodies are graceful, and
the accompaniments rich without being overloaded. Few srand
effects are to be met with in this, but much beauty in almost
every part of it. In the latter — ^by a composer whose name is
quite new to us, a circumstance we do not regret — are many good
effects, thpugh it has little chance of ever standing high in the
estimation of connoisseurs. Besides these, Mr. Braham sang

* Total Eclipse' in no less perfect and deeply-affecting a manner
than is customary with him ; Madame Caradori laboured rather
in an air from The Mount of Olives ; Mr. H. Phillips and Mr.
Lindley performed a duet — for so it ought to be called — from
Haydn's second mass, which was followed by a very fine chorus
out of the same ; and Miss Masson, in • Lord, to thee each night
and day^* did full justice to this fine song.

The third part included the splendid chorus * Rex tremendro
majestatis !* and the lovely quartet, ' Kecordare,* from Mozart's
Requiem ; a clever motet, by Horsley ; an air, ' Jesu Domine,'
part of a litany of Mozart, not containing a note worthy of the
composer, but neady sung by Madame Stockhausen; and Luther's
Hymn, which none will venture to deUver after Braham ; and it
is almost equally in vain to hope that his accompanist. Harper,
willy when he ceases to blow, have a successor worthy of him.
Luckily, he is still in his bloom. After all this quantity of matter,
and when the ear began to tire, came a selection from Israel in
Egypt, including some of the best choruses; the effect of which,
though well executed, was hardly felt by the audience : they were
too late^ and all but sacrificed from being so injudiciously placed.

Concert. — Wednesday Evening.

Beethoven's symphony in d went off with great spirit. NeQ-
komm's song, * Napoleon's Midnight Review,' given with much
animation by Mr. Machin, made a great impression, and was
called for a second time. Tlie good people of Hull entered into
the meaning of this ; but not into that of Spohr's duet in Der
Bergaeist, though so well executed by Miss C. Novello and Mr,
Phillips. Mad. Stockhausen was quite happy in ' O ciel ! che
intesi mai V — a masterly composition from Hummel's Matilde.
Mr. Lindley, in a concerto, merited the almost extravagant
plaudits with which his performance was received. Mr. Braham,
m his scene from Oberon — for who but he can sing it ? — was as
great as ever. Neiikomm's septetto closed this act most
agreeably.

The second commenced with Mendelssohn's overture to A
Midsummer Night's' Dream, respectably performed. A very
sweet duet of Paisiello, * Ne giomi tuoi felici,' by Mad. Caradori
and Miss C. Novello, pleased every body. Mr. H. Philips makes
'Revenge! Timotheus cries ' quite his own; the second move-
ment in his hands is truly pathetic. Sigiior Nagel now came
forward (we never before met with or heard of him) and played
a violin concerto by Maurer, or rather a part of two concertos,
with great and finished execution, and with good tone, but his com-
pilation was unmercifully long; insomuch that, nearly worn out
with a whole and long day of music, we retired, leaving two other
pieces unheard.

Thursday Morning, Sept. 25.

The Messiah filled up the whole morning, and well. Mozart's
additional accompaniments were, of course, used ; but we have
heard them more delicately performed. Braham's ' Comfort ye,'
and 'Thou shalt dash them to pieces; ' Miss Masson's 'O Thou,
that tellest,' and * He was despised ; ' Madame Caradori's ' I
know that my Redeemer liveth;* Madame Stockhausen's *Re.
joice greatly/ and ' But Thou didst not leave ; ' and Phillips's

* Why do the nations,' were the pieces most distinguished by ex-
cellence of performance. The choruses went remarkably well ;
though these, as well as all the others, would have been more
^ff^ive had the vocal strength been greater*

Concert. — ^Thursday Evening,

A MIOHTILT loud symphony by Gahrich, a name we never before
saw, opened the evening's performance. Beethoven has been the
author's model, up to a certain point, but the imitation is a
clumsy one. Bishop's glee, 'Blow, gentle gales,' was loudly
encored. Mad. Caradori travels with JSellini's aria, * Come per
me sereno,' in her portfolio, most certainly ; and if, some dark
night, she should lose it on the road, so as to be prevented from,
ever again attempting it, her best friends will rejoice. Phillips^
in his ballad, * Shall I, weeping in despair,' was, a Vordinavre,
encored. Nicholson played a fantasia, introducing Paisiello*9
' Nel cor,' most beautifully. Miss C. Novello chose a canzonet
of Haydn, *0 tuneful voice!' and chose badly. This is not
among his exquisitely beautiful twelve, and under any other name
would have sunk into oblivion long ago. Braham, in the famous
seen a from the Freischutz, and Mad. Stockhausen^ in ' Idole de
ma vie,' from Robert le Viable, were perfect.

Weber's overture to The Ruler of the Spirits was ably per-
formed. Lord Burghersh's madrigal, ' Troppo t'affidi,' was not
understood by the audience, therefore received coldly. The duet
from Ihncreai was rendered very effective by Mad. Caradori and
Miss Masson. * Our own British oak,' by Neiikomm, sung by
Machin, seemed to take more than anything in this evening's
bill ! Corelli's sonata, by Lindley and Dragonetti, also was
highly successful, the last movement commanding an encore. A
new bolero, *Ouvrez, ouvrez,' delighted every body; and the
overture to the Zauberflote made a splendid finale to tlxe concert.

Friday Morning, Sept. 26.
A GOOD selection from The Creation formed the first act of thi^
third morning, and was well performed. In the second act werQ
a motet of JVlozart, ' Ne pulvis,' of which the chorus is the best
part, indeed, the only part that bears the impress of the great
composer ; • Deeper and deeper still,' sung by Mr. Braham, in
his unique manner; Attwood's fine coronation anthem, 'I was

flad ; ' * Let the bright seraphim,' by Mad. Caradori and Mr.
larper, for this too is a duet ; as is • Gentle airs,' performed
very charmingly by Messrs. Hobbs and Lindley. The grand
chorus, ' See the proud chief,' from Deborah, went tolerably well,
all things considered.

The third act consisted wholly of Spohr'^s Last Judgment, to
which much justice was done. But we are among those who dis*
cover little, if any, m^rit in the first part of this oratorio, acknow-
ledging, in the most unqualified manner, the beauty, the sublimit
of most of the second part. Great want of consideration was shown
in placing this at the end, instead of the beginning, of the per-
formance. Surely some very aged lady must have advised such
a proceeding. The Creation should have come last, for it is
airy, and comparatively light ; while The Last Judgment is heavy
to nine hearers out of ten, and can only be appreciated by the
skilful in musical science. This fact must have been obvious
to those who watched the countenances of such of the audience
as sat the work fairly out. Had it taken the lead, when all were
fresh, it would have had a chance of being, at least, heard with
attention : coming at the end, it made a very sad conclusion ta
the Festival.

BIRMINGHAM MUSICAL FESTIVAL.

The remark of Voltaire, that injustice in the end produces inde-
pendence, though referring to a very different subject, is appli*
cable to the town of Birmingham, as regards its new Town HalL
The rector of St. Philip's church, under the absurd pretext that
the performance of sacred music desecrates the holy temple^
threatened, on a former occasion, that such meetings should na
longer be held in the sacred edifice \mder his control. The rich
and spirited inhabitants, therefore, alive to the interests of a ^eat
charity, and aware also of the beneficial effects of such festivals
on the town generally, applied to Parliament for leave to erect a
building that should put it out of the power of an unhappy tem-
per, or a mistaken zeal, to thwart them in their benevolent and
useful designs. The result has been a structure which, whether
viewed as a fine specimen of art, as a fit place of meeting for a
vast, wealthy, and influential town, or as a grand music-roomi
is, allowedly, not to be matched in any part of the United
Kingdom.

Some description of this will naturally be looked for in mx
pages.

THE MUSICAL LIBRARY.

The New Town Hall of Birmingham is situated in Paradise
Street, at the upper end of New Street. According to an autho-
rized account, which we take as our guide^ its extreme length is
166 feet, the width 104, and the height 83. The basement, which
19 rusticated, is 23 feet in height ; the columns resting upon its
upper surface, or platform, are, with their entablature, 45 feet,
and the pediment, forming the frontispiece, is 15 feet. The
columnar ordinance employed is in imitation of the Roman fo-
liated, or Corinthian, example of the temple of Jupiter Stator.
The columns, 32 in number, are fluted, and the entablature is
generally enriched, though not to the full extent, or so elaborated
as the original. The^ internal structure is of brick, made on the
spot, of earth dug out for the foundation. The whole exterior is
of Anglesea marble, cut by machinery, the latter worked by steam-
power ; and the columns were fluted by the same means, the
invention of which does much credit to the ingenuity of one of
the contractors.

The interior of this building exhibits a vast saloon, 140 feet in
length, 65 feet wide, and 65 feet high, with corridors of commu-
nication running on each side, and staircases leading to the upper
corridors, to give access to the galleries. One end of the Hall is
occupied by an organ and a grand orchestra : a narrow gallery
runs along each side, and a large deep one, capable of holding
nearly 1000 persons, is placed at the opposite end.

This noble saloon is said to contain more cubic feet than any
other in Europe, and will accommodate nearer 4000 than 3000
persons sitting, or 10,000 standing. Its vastness, however, is but

{)roportionate to the stupendous organ erected in it, which is the
argest in the world, the new one at York perhaps excepted ; for
the comparative size of the two instruments is at present a matter
in dispute. But when it is considered that the Birmingham
organ is placed in the most spacious and best proportioned room
in Europe, without a column or impediment of any kind to
obstruct its sound, its efiect must be admitted to exceed even that
of its only rival.

This gigantic instrument is 35 feet in width, 15 deep, and 45
high. The swell-box alone is as large as a moderately large
church-organ. There are 62 stops, 4 rows of keys, 2 octaves of
pedals, and 5 bellows, the latter occupying a space of nearly 400
superficial feet. The principal metal pipe, standing in front of
the organ, is 35 feet long, and nearly 21 inches in diameter,
formed, as all the large metal pipes are, of zinc only. In this is
a posaune (or trombone) stop, at once powerful beyond all that
we have ever heard, yet so mellow, that the immense body of
sound proceeding from it, loud as it necessarily must be, is never-
theless exceedingly sweet. The timber alone used in this instru-
ment weighs between 20 and 30 tons ; and the metal and other
materials employed in its formation, raise it to a total weight of
at least 40 tons.

In this organ is an ingenious method of uniting the power of
all the stops on one row of keys, which is quite new in tne art of
organ-building. A set of bells in the swell-box is by no means
an improvement ; pithef they ought to be larger, or altogether
rejected. Indeed, whatever their dimensions, bells are out of
place in an organ. This instrument was built by Mr. Hill, late
partner of Mr. Elliot, of London.

Since 1773, Birmingham has had its triennial music-meetings,
•which have gradually proceeded on an increasing scale of grandeur.
The last took place in 1829, but the recurrence at the usual
period was prevented by a delay in the completion of the new hall.

It is but an act .of justice due to the talents and zeal of those
who were engaged at a festival which, in point of effect, has been
^ceeded by none, and, in some respects, surpassed all that pre-
ceded it, to record their names in a work which is more liKely
to be preserved than the books of words*, we therefore insert a
list of all the performers ; but first must state that the Patrons
were the King and Queen, the Duchess of Kent and the Prin-
cess Victoria ; and that the Earl of Aylesford acted as President,
having as his Vice-Presidents about sixty of the nobility and
gentry of the adjoining counties, including (highly to the honour
of their understandings and feelings) the Bishops of Lichfield
and Coventry, Rochester, and Worcester. The Chaiiman of the
Committee was John Taylor, Es(j., the Deputy-Chairman, George
Barker, Esq. The greatest weight of the management fell on
Joseph Moore, Esq., one of the Committee, to whose skilful judg-

ment in arranging, and urbanity of manners in directing, much of
the success of tms, as well as of former festivals, is, most unre«
luctantly, ascribed.

VBXHCXPAL TOCAI. PBAFORICBRS.

For the vanoKt pff^bnuuietft.— Madame Caradori; Madame Stockhauten ; Mra.
Knyvett ; Misi Clara Novello ; Mr. Braham ; Sieaor Curioni ; Mr. Vaughan ; Mr«
Horncastle ; Mr. Hawkins ; Mr. Tezrail ; Mr. Phmips ; Mr. Machin; Mr. BeUamy £
Mr. Taylor.

imTRUKBNTAL PlBFOBMBRf.

Oboan, Mr.Tiirle«

Leader of the Morning PerformanceM, — ^Mr. Cramer.

Leaders of the Evening Performance; — Menrs. Weichse!, Mori, and Loder.
Solo Performert.'^l^uxiO-YoRn, Mr. Mosdielet; Violin, Mr. Mori; ViOf.OK-
CBLLO, Mr.Xdndley; Oaqan, The Chevalier Neiikomm; HABP,Mr. Stockhansen.
CoMDUOTOB, Mr.Knyrett.
Cborus Mastbe a»d ABsisTAnr Cokductob, Mr. Muadeo*

Mr. F. Cramer (London)
Weichwl
Mori
Loder
Eliaaon
Ella
Rawlini
Reeve
Nadand
Gynemer
Tulbeque
Anderson
Thomaa
Pi^gott
Gneibach
Seymour
Watkiofl

Mr. Morali (London)
Mountain
Danielf
Lyon
Ware
Challoner
Nicks
Calkin

Mr, R. Lindley (London)
Crouch
Hatton
Bonner
C. Lindley
Lucas

Bir. Dragonetti (London)
Anfoni
Howell
C). Smart

Mr. Nicholson (London)
Card

Mr. Cooke (London)
Malseh

Mr. Willman
FoweU

Mr. Mackintosh
Bauman

THE BAND.

TIOUNS.

Mx. Dando (London)
Abbot
Litolff
Cramer^ jun.
Patey
Bicliards
Mackintosh, jon*
Holland
Rooke
Musgrave
F. I^omas
MarshaU (Oxford)
Shareool (Birming.)
MaisnaU (Cambridge)
Loder, jun. (Bath)
Dr. Camidge (Tork)
Gardner (Northaoip.)

VlOLAB*

Mr. J. Calkin (London)
Fleischer
Davis

Glanville

Chubb

Sherrington

Kearns

Venua

ViOLONCBIXOS.

Mr. Rousekit (London)
Piggott
Brookes
Beale
Bannister

DOUBLK BaSSXS.

Mr. Flower (London)
Wilson
Hill

Flutss.
I Mr. £. MarshaU

Mr. Venua (Cambridge)
Frobisher (Halifax)
Gill (Ldcester)
Graham

Goedall (Shrewsbury)
Rudge (WolTerhamp.)
M'Ewan (Hinckley)
M^wan rNuneaton)
Bleyrick (Leamington)
Gillins

D'KgvUle, jun. (Wor-
cester)
Ljon (Birmingham)
Simms
Heywood
Tester
Gxeaves (Tamworth)

Mr. Reynolds (Bath)

ShargooKBirmiogham)

Goodban

Grady

Gflee

Brindley

Elston (Leamiogton)

Dearie (Warwick)

Mr. Lewis (Leamington)
Grimsnaw (Preston)
R. Giles (Bi rmingh am)
WoodhiU
Reinagle (Oxford)

Mr. Cubitt (London)

Fletcher( Birmingham)
Elliston (Leamington)

Obobs.
I Mr. Florke

Cla.rinsts.
I Mr. Egertott

B&siooifs*

I^Mr.Tully

I Mr. Stanier (Birmingham)
Mr. Witton

Mi; Harbidg9

* Of about 140,000 books printed for the ▼arious performances in Westminster
Abbey, from 1784 to \79l, it is more than probable that only a T«ry fisw doi>ms are

Mr. Harper
Irwm

MnPlett
Rae

Tully

Trumfbts.

Mr. Hyde

Macfarlane

Mr.Mancai

IMr. Harper, jun.
Timming

Mr.Rost

Smithies
Smithiesyjon,

Mr. Probin, jun.
Hmms

Mr. Ensor

Vate

HoBlfS.

Mr. Kielbach
M. Ptobin
Horton

Trombonbs.
Mr. Albrecht

Phillips
Cracknell

Sbrpbnt.
Mr. Andre (Cheltenham)

CoMmA-BAss Ofriclbiob.

Mr^ Ponder^

Cobno-di-Basbtto«

Mr. Willman,

Octatb Flutb,

Mr. Adams.

Hasp.

Mr. Stockhausen.

DonsLB DnvMS. Towbr Dnuiii.

Mei Alton. Mr.Cbipp.

I 3

Ophiclbxdb.

Mr. Thuxstaof.

THE MUSICAL LIBRARY,

Kiss Aston, ^U (Bixmiag-
ham)
Allen (London)

llr: Baker, W. (Binning^
ham)
Beale (London)

Hr. Bett, R. (Binning-
ham)
Harris (Windsor)

Hr. Bird, Q. (Binning-
ham)

Greatorex,H.(London)
HolUns, O. (Binning.)

Kiss Aston (London)
Mrs. Bird (Binningham)
Min Bond —

BuUock

BuUock^J.

Master Bentley, — «
Hiss Byers (London)
Beardmore, — «-
Banj (Liverpool)
Mrs. Bayliss (Leamington)
Miss Cresshull (Birming-
ham) '
Cooper — .
Master Chambeilain —
Clarkson «— «-
Miss Col (Leamington)
Cox, C.

Mr. Ashton (London)

Blizard, J. (Birmiufl:.)

Baker, W.

Coad (London)
Dutton (Liverpool)
Dymock (Oxford)
Eades, J. (Binning.)
Freeth, H. — ?:

Field, 8.

Fellows, W.

Fairfax (Leamington)
Glover, T. (Binning.)
Hollins, J. •— —
HepUnstaU,!.

Mr. Ashford, H. (Binning.)

Brooks, T.

Best, J. —

Bekher, R. —^

Beale, T.

Burman, W. — —
Birt (Loadon)
Croasley, J. (Birming.)
Dudley, J. —
Doley, K. —
Deaken, G. —
Dunn (Liver|)ool)
Felton, W. (Binning.)

Freeth, J.

Frederick, 6. (London)

THB SEMI-CHORITS.

Trkblu.

I Miss Bate (Birmingham)
Mrs. Bven (London)
I Miss mnis -*—

CoiniTm-Tn«<nuk

Mr. Ball (Liverpool)

Jones

TynB (London)

Tbnorji.

Mc Holden, G. (Livcrp.)

Haddock

Michelmore (London)

Babsxs.

Mr. Holden, W. (Liver-
pool)
*Turle (London)
Morgan, J. BL(Birm.)

THE CHORUS.

Trbblks.

Mrs. Darby (Binningham)

Dutton (Liverpool)
Master Eades (Birmingham)
Miss Edwards — —
Entwistle (Liverpool)
Hughes (Birmingham)
Haughton — —
Harbidge — ^
Mrs. Hethermgton—
Miss Hewitt (Leamington)
Master Jackson (Binning.)

Kirkham

Lines

Lawrence (Leam.)
Miss Machin(Birmingham)

Matthews —
Master Melon -«*-

Countkr-Tenors.

Mr.Horton, M.jun. (Bir-
mingham)
Hartley (Liverpool)
Jesson, J. (Birming.)
Lander, F. —
Lewis (London])
lAwrence (Leamin^on)
Machin, J. (Binnmg.)
Miller (London)
Newton, J. (Birming.)
Nicks (Leamington)
Parker, F. (Birming.)
Peck (London)
Price (Liverpool)

t Mm. Hiles (Livorpool)
Miss Ireland (London)
I Mis. Linacre (Liverpool)

Mr. Taylor. W. (Birmg.)
Taylor (London)
Wareing,W.(Binn.)

Mr. Pearsall, B. (Firmg.)
Tett, S. (London)
Whall (LtncoUi)

Mr. Machin, T. (Birm.)
Novello (London)

Novello, A.

Pemberton, (Liverp.)

Mrs. Russell (Birmmg.)
Miss Rose ' —

Mrs. Smith

Stevens — ^

SouthaU

Miss Solomon —
Solomon, A.

Miss Taylor

Master Taylor

Miss Tavlor (London)
Master "taylor —
Miss Thomicroft (Lea-
mington^

WoodcooE (Binning.)
Master Woodward — -

Mrs. Whittall

Mrs. G. Walker (London)

Mr. Richards, J. (Birming.)

Riley, T.

Simmons, J. — -~

Slater, J.

Stone, W.

Swinboum, T —
8ambridge,W.-^-
Waretng, B. — ^

Woodward, B.

Wareing (London)

Wallis

Waddmgton (Manches*

Toung (Canterbniy)

Tenorji.

Mr. Greaves, T. (Birming,
George (Liverpool)
Green (Leamington)
Gold (Lichfield)
Hillier, J, (Binning.)
Hill (Norwich)
Harrison (Gloucester)
Hollis (Leamington)
Job, T. (Birmingham)
Minshull, S. -
Murton, J.
Pbole, W.
Puraell, J.

Pearsall, W. (Birming-
ham)

) Mr.PreBtwich(Manchester)
Price (London^

Price, T.

Smith,I.(Birmingliam)
Seaborne, M. *— .

Smith, T.

Shoobridge, (Canter.)
Taylor, T. (Birming.)
Tett, C. (London)
Umphreville,T. (Birm.)

Woodward, J.

Walker, G. (London)

Wallis

Williams (Worcester)
Wilkins (Oxford)

Mr. Aston, J. (Binningham)

Arrowsmith, W.

Abbott, J.

Audrews (Liverpool)
Barwell, W. (Birming.)

Baiwell, W.jun.

BugKtns

Barclay (London)
Blundell (Liverpool)
Brown (Leamington)
Bentley — ^

Beck

Bennett (Lichfield)
Collins, J. (Birming.)
Croydon (Leamington)
Dent £. (Birmingham)
Dobson (Canterbury)

Bassxs.

Mr. Farnell, J. (Birming.)
Fenney (Worcester)
Gamer, C. (Birming.)
Green, J. (London)

Gledhill

Hawkes, T. (Birming.)
Haywood, J, ^-^

Hare, G.

Hills (London)
Hadley (Liverpool)
Howitt (Gloucester)
lion, L (Birmingham)

Jewsbury, O.

Knight (Leamington)
Lawrence, J. (Birm.)
Lingard, H. ^^
Machin, T.

Mr. Marian, F. (Binning.)
M'Carthy (London)
Newton, C. (Birming.)
Newton (London)
Orme, T. (Birming.)

Parker, H.

Potts (Liverpool)
Room, J. (Birming.)
Richards, T. — ^
Roome, F. —

Rooke, H.

Reading (Leamington)
Stevens, J. (Binning.)

Stanley, W.

Shepherd (Oxford)
Testar, J. (Birming.)
Whitworth, J.— w-

It will hence appear that the numerical force of this orchestra
amounted to nearly 400 ; but calculating the power of the organ
and the favourableness of the room, no obstacle presenting itself,
nothing to damp the sound, the effect of this number was greater
by far than that produced by the 600 performers^ and upwards.

recently assembled in Westminster Abbey. It must, however,
be confessed that the brass instruments were rather too powerful
for the stringed ; the violins were sometimes scarcely audible.
And if part of the chorus had been placed on the upper sides 6f
the orchestra, instead of being all in front, and the leader, as well
as a portion of the stringed instruments, had been brought more
forwauxl, a greater equality in the various parts would have been
produced.

There were four morning performances ; on Tuesday the 7th,
Wednesday the 8th, Thursday the 9th, and Friday the 10th of
October, at the Town Hall ; and three evening performances ; on
Tuesday the 7th, and Thursday the 9th, at the Town Hall, and
Wednesday the 8th, at the Theatre Royal*

FIRST MORNING, TUESDAY, OCTOBER 7.

PART I.

Coronation Anthem. ' Zadok the Priest,*
Song. Miss Clara Novello, * The lofant's Prayer,*
Quartet. Mrs. Knjnrett, Messrs. Hawkins, Homcastle, and
Phillips, and Chorus, ' Sing unto God,' *

??"H Mr. Braham,/!2JT°f. "»?*'' " • '
Air. / ""'''"™™»V Total edipse,' . • • .

Chorus. (Solo, Mr. Vauehan), < Glory to God,' .

Air. Mr. Phillips, ^Now heaven in fullest glory shone,'

HAwnsL. '

NOVSLLO.

Croft & Gbsatqrbz.
[Han OIL.
Bbbthovbn.

'ullest glory shone,' « ^
8. Knyvett, Miss Clara Iit»^«-
Uamy, and Machin, and p««>"-
• • » • J

Sestet. Madame Stockhausen, Mrs.

Novello, Messrs. Homcastle, BeHamy,"
Chorus, * Et incamatus est,' •

A SELECTION FROM MOUNT SINAI.

Nkvkomm.
Introduction.

Recit Mr. Taylor, ' And Moses spake, and said.'
Chorus. ' He Wth his flock.'

^?*^**'l Mr. Phillins V^^ *'*• ^'^ called unto Moses.'
Air. / ' J^ ' \* I carried you upon eagles' wings.*

Recit. Mr. Braham, ' And on the third day.^
Chorus. ' I am the Lord your God.'
^^**1 iyr.« v-^.^^4 f * Accordinc: to thy name, O God.*
Air. /**"-^y^«*M*HolyandVatisthy
Chorui. < Make a joyful noise to the Lord.'

THE LAST PART OF THE LAST JUDGMENT.

Sfohb.

Redt Mr. Phillips, ' Thus saith the Lord.'

Duet. Madame Stockhausen and Mr. Vaoghan, * Fonake me not.'

Chortis. ' I f with your whole hearts.'

Solo. Mr. Braham, ' Jehovah now oometh to judgment.'

Chorus. * Destroyed is Babylon the mighty.'

Quartet. Miss Clara Novello, Messrs. Hawkins, Homcastle, and Taylor, 'Blened

are the departed.'
Recit. Mrs. Knyvett, < I saw a new heaven.'
Solo. Mr. Braham, < Behold ! he soon shall oome.'
Quartet. Miss Clara Novello, Messrs. Terrail, Vaoghan, and Bellamy, < Then eome^

Lord Jesus.'
Chorus. ' Great and wonderful.'
Quartet. Miss Clara NoveUo, Messrs. Tenail, Vanghan, and Bellamy, < Who diaU

not fear thee.'
Chorus. <HaUelujah.'

Air. Madame Stockhausen, ' Laudate Dominum,' • • Moiart.
(Organ Obligato, Mr.Turle.)

Song.

Handku "4

Mr. Vaughan,<0 Liberty,' • . • •
(Violoncello Obligato, Mr. LindleyO

Chorus. ' Immortal Lord,' lii.^,v»w

Song. Mr. Machin/ He layeth the beams,' . . . J"^«*«-
Air. Madame Caradori, * llet the bright Seraphim,' • • Hahdbl.

(Trumpet Obligato, Mr. Harper.)
Recit. Mr. Braham, ' And God said,' . • • » t
Recit. Aocomp. ' In splendour bright,' • • • • VHatdn.
Chorus. < The Heavens are telling,* • • • • J

The Coronation Anthem lefl no doubts in the minds of the
auditors as to the power of the band, or the fitness of the room
for musical purposes. At the end, a smile of satisfaction and
gratulation was observable in the countenances of those who took
any interest in the success of the Festival. The fears at first en-
tertained, that the sound would be too much reverberated, were
immediately dispelled. The air that followed, accompanied by
only four instruments, proved that the gentlest tones could make
their way into the most distant parts of the vast saloon. On this
account, its introduction may be explained.

Dr. Croft's fine* anthem, to which Mr. Greatorex added some
good accompaniments, was most ably performed. After which,
* Total Eclipse,' never more effectively sung, moistened many an
eye. And the scena from The CreaJtion, though so often repeated,
could scarcely tire being so executed, maugre an absurdity or twa
in the recitative. The movement from Haydn's first mass lost

THE MUStCAL UBRARY,

91.

aome of the effect It is calculated to produce, by being taken
rather too fast. The portion of Beethoven's mass was not iudi-
ciously selected : the first chorus and solo have little, if any claim,
to notice; the last part, however, especially the ^ Amen,' is
splendid, and was admirably performed. Nothing can be more
correct than Madame Caradori in Cimarosa's scena; but it woidd
be more impressive if she would infuse somewhat more feeling
into it.

The selection from Neukomm's Mount Sinai certainly ^ave
the cream of the oratorio. The grand simplicity of the plain
counterpoint, edla Palestrina, in the delivery of the first Com-
mandment, and the awful pouring forth here of the sounds of the
brazen instruments, quite reach the sublime. The composer
conducted this himself, in that very intelligible manner which
distinguishes German conductors, and, doubtless, was as much
satisfied with the performers as they and the audience were with
him.

The second part, consisting wholly of the best portion of Spohr's
Last Judgment, was performed in a manner that must convince
the most sceptical of the process making by music in this country.
Except that the instrmnented band did not sufficiently attend to
the various degrees of forte and piano, the execution of this, a
most difficult work for any orchestra, was surprising. The lovely
duet, ' Forsake me not,' was most delicately sung : not less so
the divine quartet, * Blest are the departed;' and the chorus,
' Destroyed is Babylon V the finest and most original production
of the composer, was perfect.

It is doing injustice to Mozart to rake out of the dust the air
Laudate Dominum, which should be allowed to be forgotten.
Mr. Vaughan gave ' O Liberty V very chastely ; and Lindley
was delightful in this, his long cadence excepted. The chorus,
' Immortal Lord !' one of Handel's chef8'd*o£uvref a composition
that leaves everything, except a few of the author's own works, far
behind it, never, we are fully persuaded, before was performed
with an effect at all equal to what it produced on the present oc-
casion. Mr. Machin, in ' He layeth the beams/ (or * Nasce al
bosco/ from Ezio) exhibited his fine voice to much advantage.
Madame Caradori executed ' Let the bright Seraphim' with
great neatness. Mr. Harper's accompaniment to this was, as it
always is, excellent. The music from 2%e Creation ended the
performance in the most brilKant manner.

FIRST EVENING, TUESDAY, OCTOBER 7.

▲CTU.

Symphony Pastorale, . • • . . • . Bebthoten.

Song, Mr. Vaughan, < Forget me not,' • • • • Moxjlkt.

Madrigal, Full* Choir, < Sweet honey-sucking hees,' • • Oibbons.

Cavatina, Madame Caradori, * Come per me seiena,' • Bbllinx.

' The Recollections of Ireland,' Fantasia, with Orchestral Accom-
paniments, Grand Pianoforte, Mr. Moscheles, . MoscnBLSB^

Dnet. Madame StocJchausen and Mr. Phillips, * Calma, oh

bella,' (Der Berggeist.) Spohr.

Song, Mrs. Knyrett, < Through the wood/ • • • HoRif.

Fantasia Organ, CheTalier Neiikomm, * A Lake scene,' inter-
rupted by a thnnderstorm. « • • •• • Nbvkomm,

ACT n.
GTerture to Anaereon, •••.*»• CHB&uBiif i.

Song. Mr. Braham, < Maa Tom,' • • • • Purcsl^
Solo. Violin, Mr. Mori.

Song. Mr. Phillips, * There's a light,' . . • • Lodbr.
Prize Glee, Messrs. HawkiaSyVaughan,Horacafltle, and Taylor,

* Old May morning,^ »••••.. NovsLtow
Bong. Madame Stockhausen, * Let me wander not unseen,' Hanobu
Dnet Madame Caradori and Mr. Braham, *Crudel, perche

finora?' Mozart.

Finale, * Hart and Hind,' •••••• Bishop.

The pastoral symphony was most accurately performed ; but
the instrumental band alone was hardly powerfiil enough for this
great room. In the delightful song of Mozart, Mr. Vaughan
adopted a style altogether new to him : he sang it most charm-
ingly. The Madrigal, owin^ to half of the singers having
been absent from the rehearssu, was sadly spoiled. The scena
irom Don Giovanni is beyond the means which Miss C. Novelio
at present can command. Why allot to so young a singer, though
a very clever one, what requires vast strength, energy, and Qxpe-
rience ? Mr. Moscheles hit the taste of a mixed audience exactly.
The airs he introduced, and indeed the admirable manner in which
he executed the whole piece, made the room re-echo with plaudits.

Madame Stockhausen and Mr. Phillips substituted a duet from
Jl Barbiere di Siviglia, for one by Spohr, and, if by consent of
the managers, acted wisely. Mrs. Knyvett gave ' Mad Bess'

with great feeling and effect M. Neiikonnn had, we are in-
formed, written a Fantasia for the organ, but subsequently de«
termined to perform an extemporaneous one, a change which we
soon regretted, for the imagination does not always obey the will,
and it is dangerous to trust to what depends so much on the state
of the pulse, on a good digestion, on chance. The imitation of
thunder was not amiss ; but this, as done at Haarlem, has the
advantage of a building that reverberates the sound, injuriously
for general purposes, very usefully for this. M. Neiikomm had
no such auxiliary.

The overture to Anaereon was quite as well executed as the
symphony, and, like that, wanted instrumental strength to operate
in such a space. Madame Caradori should be persuaded not to
sing Bellini's cavatina; she is wholly uneaual to the execution of
passages which a Cinti and a Grisi, with tneir very flexible voices;
find easy. The new song of the Chevalier Netikomm — a soldier's
song — ^was set in one of his happiest moments. He has done his
friend, whose pseudonyme is Barry Cornwall, ample justice ; and
Braham was just to both. This was called for a second time«
from all sides of the room. Mori has seldom pleased us so little
as in his concerto. The audience, however, generally differed
from us in opinion. Horn^s ballad charmed all equally, whether
mere lovers of melody, or judges. The duet from Azor and
Zemira was never better sung. After this, the fatigues of the day
compelled us, at a late hour, to seek repose.

SECOND MORNING, WEDNESDAY, OCTOBER 8.

PART I.

DAVID.
(Compoted expretsiyfir ihi* Festival by the ChevaUer Nbuxomm.)

Davidf Mr. Braham,
Sister of David, Madame

Stockhausen,

Saul, Mr. PhiUipi.
Hiffh Priest, Mr. Taylor,^
Mettenifer, Mr. Bellamy.

DRAMATia PBR80NJB.

Goiiah, Mr. Machin,

Michal (Daughter of Saul),
Mrs. Knyvett,

Jonathan, Mr. Vaughaa,
Introduction, instrumental.

Recit. David, ' Dear partners of my peaceful toUs.'
Choral Hymn, (four choirs) * O Lord 1 thy guardian care.^
Air. David, ' My flock, my friends, farewell/
March, and Air. David, * O for the rescue of my fathers* land.*
^«t 1 «;.♦.* «f Ti.«^ i * 'Tw well, my brother.*
Air. P»*«'°^^'^^*^i*Retum,Oliavid.'
Chorus. ' Behold the giant, swelling in his pride.'
Recit. Goliah, < Ye men of Israel.'
Recit David, ' Who is this Philistine ?*
Duet. David and Goliah, * Come unto me.'
Symphony and Chorus. ^ He falls, the monster falls.'
R4icit.\ <>>• . 1 \* Our fears are o*er.'
Air. 1 ^*;^*''^' J* Mighty Jehovah.*
Recit. Michal, * See, where the throng.'
March and Chorus. ' Daughters of Israel.'
Quartet. Michal, David, Jonathan, and High Priest^ ' Who can prodaim thy iroiH

drous works, O Lord.'
Grand Chorus. < Thou art a God of wonders.'

FART If.

Introduction, instrumental.

Recit.) Cq^\ f * Ah, me ! what cares oppress me !'

Air. j ' \< Gome, gentle sleep, and lull me in thine arms.'

Recit. Jonathan, ' See how the evil spirit is strong upon him.'

Prelude. Harp.

Air. David, < I will lay me down in peace.'

Redt. Saul, 'Who talks of peace .^

Air. David, ' When fairest on a monarch's brow.*

Recit Saul, ' 111 hear no more.'

Chorus. * Haste thee away.'

Recit Michal, < Though in fulfilment.'

IVio. Michal, David, and Jonathan, ' Dearer to me than all below.'

Recit Saul, ' Wretch that I am.'

Air. Jonathan, ' What dreams are these that overwhelm thine heart.'

Duet. Jonathan and Saul, ' Lo 1 where they come.'

Battle Symphony.

Recit Messenger, ' O ! how shall I proclaim.'

Chorus. * O Israel I mourn.'

Recit High Priest, < Saul and his cruel honse.'

Chorus. ' Hail to thee, David, 6od*s anointed king.'

Air. David, ' Glory to God shall be my song.'

Chorus. < Hail to thee, David.'

Celestial Chorus. * Blessed is he that cometh.'

Grand Chorus. ' Hosanna in the highest.'

' Praise the Lord for evermore, Hosanna.'

BMD OP TBS ORATORIO OF DATID,
PART III.

Overture, Esther, with additional Parts for a Grand Orchestra. )„

Air. Mr.Homcastle,'Gtfntleaiw,' .... f^^^^'

(Violoncello Obligato, Mr. Lindley.)
Chorus. * Hosanna, praise ye the Saviour. Hallelujah,* . Mosart.
Solo. Miss Clara Nuvello, and Chorus. < Hear me, O Lord,' Noykllo.
Recit Mr. Vaughan, "Tis well ! Six times,', . . \rjo h ^
March. ..•••..«• rW '"^
Air. Mr. Vaughan, and Chorus. ' Glory to God,' . J**^ml.
Recit Mr. Phillips, < Rejoice, my countrymen,' • • ^

Air. Mr. Phillips, * Thus saith the Lord,' . . , UBelsAaxzar,)

Chorus. ' Sing, O ye heavens,' f Uandbu

< Hallelajah, Amen,' J

THE MUSICAL LIBRARY;

If ail new oratorios are to be rigorously measured by the stand-
ard of Handel's best, or even of Haydn's, no composer will ven-
ture into the field, fraught with danger as the attempt would be,
until a genius equal to that of the two German musicians shall
arise. And genius of the brightest kind^ unless it burst forth at
once in all its radiance^ "^^s^^ ^® checked, perhaps irrecoverably
depressed, were its first efforts tried with any reference to what
those rare men produced in the maturity of their professional
lives, when they were not ' climbing the steep ascent of fame,'
but had reached its summit. If all modern oratorios are to be
condemned because not equal to The Messiah, to Israel in Egypt,
or to The Creation, it were better at once to publish a declaration
that none inferior to these, however positive its merit, shall be
tolerated by critical authority. But then, in equal justice to
musical composers, the works of such dramatists as may prove
themselves on a par with Otway, Rowe, Southern, &c., should
receive notice that they will be treated with the utmost severity,
unless they successfully rival Shakspeare himself. It is undeni-
ably true that neither gods nor men, nor columns, can endure
mediocrity in art ; but there is a point between mediocrity and
perfection, an eminence which several arrive at, and both equity
and policy demand that those who have achieved so much should
be supported in a situation, not very easy of access — an honour-
able station — ^from which it would be as unwise as unjust to en-
deavour to precipitate them, on the plea that they have not god-
like strength enough to reach a height which so few are destined
to attain.

Davidy a drama well constructed for musical purposes by the
Rev. John Webb, M. A., is a brief history of the Hebrew king,
irom his shepherd to his regal state. The music is a mixture of
the ancient and modern styles, the latter predominating. The
airs are all more or less elegant, some of them beautiful; the
choruses are grand, both in design and effect. The instrumenta-
tion throughout shows a boldness, often an ori^nality, that proves
the author to be anything but one of the hercf of imitators. He
has, perhaps, been occasionally a little too liberal in his use of
the brass instruments; but the vast room in which the present
work was, from the first, intended to be performed, called for all
the strength that the orchestra could put forth.

David is perfectly dramatic; and this, which has been repre^
sentedas a fault, we cannot but consider as among its best
qualities. It requires such music as The Messiah to render in-
teresting a series of texts, ifl which scarcely any narrative or de-
scription is to be found. Handel himself did not attempt a
second oratorio without either drama or story.

M, Neiikomm has ably seconded the poet's views by the dis-
tinctness with which he has marked each particular character,
and by the rich and varied colouring he has spread over every
part of the composition. Fortunately, the poet here is a good
musician, and the musician is both a painter and poet in his art.

As this oratorio will very shortly come under notice in our
Review department, we shsul now dwell only on a few of those
pieces which struck us most forcibly at a first hearing.

A choral, or hymn, at the commencement, for four choirs, would,
had it been better rehearsed, have produced great effect, we con-
jecture. Enough was heard to justify a belief in its efficiency
when nicely performed. An air, * Return, O David ! ' — sweet in
itself, and sweetly sung by Mad. Stockhausen, pleased universally.
A very fine chorus followed this, * Behold the giant ! * to which
every justice was done. Then came the recitative, • Who is this
PhiUstine?' which BraAiam deUvered, scarcely referring to his
book, with an energy that roused the most torpid in the room.
The duet which succeeded, ' Come unto me,' in f sharp minor, is
one of the finest things in the work, and was admirably sung — we
had almost said acted, for both seemed inspired by the subject
We shall never forget the look of scorn cast on Goliah by David.
The use of the trumpet in this piece took the connoisseurs by sur-
prise : minor intervals were assigned to it, which a performer is
seldom called upon to produce. Harper rendered them in the
most perfect manner, without any apparent difficulty. A tri-
umphal march, the subject afterwards repeated in a semi-chorus;
a charming quartet, partly in canon ; and a grand chorus, in
fugue, all as pleasing as masterly, finish the first part

The second part opens with an introduction, in which the brass
instruments and drums are freely, but most effectively employed.
SauFs invocation to sleep, a gentle air in A flat, changing into a
movement all agitation and fury, in c minor, admirably sung by
Phillips, is highly effective, though the passages, considered sepa-

rately, cannot boast of much novelty. An air, {or David, ' I will
lay me down in peace,' followed, with an accompaniment of organ
and harp only, written in the simple manner that the words in-
dicated, and as sweetly sung as written. After a short inter-
ruption, the same character has another air, in a different style^
accompanied by the harp and Corno-Inglese. The novelty of
both was striking ; but th© latter possesses not the charms of the
first. A chorus, * Haste thee away,' in a musical whisper, is not
only original, but exceedingly effective. After this, a calm melo-
dious terzetto, ' Dearer to me than all below,' delightfully sung
by Mrs. Knyvett, Braham, and Vaughan, produced a murmur
of applause from all sides of the room*. A duet, for Saul and
Jonathan (Phillips and Vaughan), *0, Jonathan ! ' is remarkably
clever and characteristic. The battle-symphony we felt was long,
for it disclosed few, if any, original traits. But the short chorus
that follows, * O Israel, mourn ! ' in which the brass instruments
are very skilfully employed, is deeply impressive. A gong, how-
ever, we thought out of place here, and felt much inchned to ask
it the question that Fontenelle put to the sonata — ^ Que me veut
tu ? ' Two masterly fugued choruses, divided by an air that re-
quires no notice, terminate the oratorio, — a work which, though
none will be hardy enough to put it in competition with the finest
of Handel's oratorios, or with the first part of Tlie Creation, will
bear a comparison with any other composition of the same class
that we are acquainted with. Indeed we know but few that have
any pretence to rank with it ; and confidently expect that, after a
second or third hearing of David, many beauties will develope
themselves that escaped notice at a first performance.

The overture to Esther, with which the third part of this day's
performance began, had some instrumental additions made to it^
but they were not very prominent ; indeed, but for the notice, we
should hardly have observed them. *

Mr. Horncastle sang ' Gentle airs ' in a very pure style ; then
fled away precipitately, leaving Mr. Lindley alone with his solo^
A hymn by Mozart is, we doubt not, one of those compositions
which the author never wished should survive him. The second
movement of the chorus, ' Glory to God,' in the key of b minor,
is almost terrific ; its effect suffered no diminution on the present
occasion. The business of the morning was well wound up by a
magnificent scene from Handel's Belshazzar^ performed in a
manner equal to its merits.

SECOND EVENING, WEDNESDAY, OCTOBER S.

ACT I.

Overture, Kgmont, • . • . . . • « • Bbbtuotbn.
Song. Min Clara No¥eIlo, 'Tum'abbandoni,' • • Spokb.
Concertante, tot Flute, Oboe, Clarioet, Baasoon, Horn, Trumpet,
and Double Bmi, Meters. NidioUoo, 'Cooke, Willman,
Mackintovli, Piatt, Harper, and Dragonetti, • • Nbukokv.
Song. Mr. Machin, ' British oak,' . . t • Nbukomm.
The Third Act of Rossini's Opera of Oieilo, performed in character.
The Pact of De94fmoma, Madame Caradori,
Emilia^ • . • .Madame CastelU.
Oteiio, . . . • • Siguor Curioni.

ACT II.

Orerture^ Oberon, ••.«.•«• Wbbsr.

Quartet. Madame Stockhausen, Messrs. Hawkins, Curioni, and

Machin, and Chorus. 'Dal tuo stellato soglio,' (// Moti) Rossini.
Song. Mr. Phillips, < Woman.' .

Concerto Violoncello, Mr. Lindle}', Likdlbt.

New Bolero. Madame Stockhausen, ' OuvieSi ouvres,* • Djsssaur,
Glee. Messrs. Terrail, Vaughan, Horncastle, and Idachin,

' B^ Celia's arbour,* Horslbt.

The Third Act of Donisetti's celebrated Opera of Amia Bidemi performed in chamcter

bj Madame Caraduri, and Chorus.

On entering the theatre, we were surprised to find so spacious
and elegant a house. The proscenium is wider than that of our
two winter theatres, and the pit nearly, if not quite, . as large^
There are but two rows of boxes, most of the upper part of the
theatre beins devoted to a gallery, which goes all round, and is of
almost equal depth throughout. The pit and boxes were thrown
into one ; the admission fifteen shillings. Even the gallery wai$
seven shillings. Hence there was between 600Z. and 700Z. in the
house.

The concert was not very interesting to a London auditor.
The overtures were well performed by the elite of the band,
placed in the orchestra of the theatre. Horsley's best glee, ' By
Celia's arbour/ was delicately sung. Mr. E. Taylor gave ^

* On the fint day of the Festival it was requested that, at the morning muaie
would aU be tacied, the eompany would re&ain tram any audible expre«u>n of their

THE MUSICAL LIBRARY.

well composed soog of his own ; and Mr. Machin sang 'The British
Oak/ the words of which are the best part of it Of the third act
of Ofello, and also of Donizetti*s Anna Bolena, we will only say,
that, as novelties^ they most likelv pleased those who were
strangers to the King's Theatre ; though we should think that
very few such persons were present. Mr. Phillips, in his clever
ballad, and Madame Stockhausen, in a simple and delightful
bolero, quite enchanted the audience, who seemed inclined to
hear both a third time. Mr. Lindley, with his concerto, met
with nearly as much applause as the former two.

THIRD HORNING, THURSDAY, OCTOBER 9.

THE MESSIAH,

With Mozart's Aceompaniments.

The Messiah, which nearly every lover of music — certainly
every professor of a certain standing — knows almost by heart,
afforded a fair opportunity to compare its performance now with
that which has so recently taken place in London ; and we should
think that no doubt can be entertained of the superiority being
on the side of Birmingham : the principal singers were fewer, but
they were the best; and the hall is, unquestionably, in everyway
more favourable to sound than Westminster Abbey, loaded, too,
as the latter was with a material that reduced the effective
strength of the band to about half of what was expected from its
numerical force. The conductor, also, Mr. Knyvett, made it
verv evident that his tradition of the times, or movements, of the
different pieces, as well as of their various characters, is the true
one. He and the leader were in strict accord from the first note
to the last. Altogether, then, we never heard the Messiah so
entirely well performed, so completely effective, as on the present
occasion.

It is sufficient to state that Mr. Braham and Mr. Phillips, and
likewise Mr. Vaughan, were in full possession of their voices :
the rest will be inferred. Mrs. Knyvett*s pure style, acquired in
the Ancient Concert school, is exactly adapted to Handel's sacred
music. Mad. Stockhausen imitates this very successfully; her
slight and modest infusion of a more modern manner, occasionally,
cannot rsdse an objection. Miss C. Novello is wisely following m
the same path. Mad. Caradori finds it difficult to yield to the
severe style ; she labours in it ; and it always has seemed to us
that her predilection is strongly in favour of the modern Italian
composition. Mr. Machin is making daily advances ; the last
polish may probably be acquired by time. But in order to become
an accomplished singer, it is necessary that he study music gene-
rally, as an art ; he must acquaint himself with the principles of
harmony, or he will never know what relationship subsists between
bis own part, the parts for other voices, and the numerous accom-
|)animents in the score.

The choruses all went off with the utmost spirit and precision.
'And he shall purify,' which is more difficult than most of the
others, was faaltless. ' For unto us a child is bom ' was per-
formed as it ought to be, and not as at the Abbey. ' Lift up your
heads,' the Hallelujah (which was repeated), and the Amen of
' Worthy is the Lamb,' lefl nothing on which the most captious
critic could build a complaint.

THIRD EVENING, THURSDAY, OCTOBER 9.

Mozart.
Hawu.

Symphony (E i')'* • • • • • • •

Song. Mr. Horneaitle, * The SwiUer*6 night watch,' arranf^ed by
Trio. Madame Caradori, Madame Stockhausen, and Mrs. .
Knyvett, ' Le faccio un inchino.* • • • •

Cantata. Mr. Machin. 'Napoleon'a Midnight ReYiew.* • •
'The FaU of Paris,' Grand Variations, with Orchestral Ac-
companiments, Piano-forte, Mr. Moscheles • • •
Song. Mrs. Knyvett, * Mountain Guide.' • •

Madrigal. Full Choir, ' Down in a flowery Tale.' Constantius Fbsta, 1541.

Swiss Air, Madame Stockhausen, • • • •

Finale. •••••••••• Fidelu>>

ClKAROSA.

Nkukomm.

HoSCHXLIt.

Orertare. 'Midsummer Night's Dream.' » ^ • •

French Romance. Miss Clara Novello, ^ Tyml qui m'As vu naitre.*
Song. Mr. Braham, * Tve been tos8*d among the wars.' •

Song. Madame Caradori, * Jock of Hazeldean.' • •

Glee. Mrs. Knjrvett, Messrs. Terrail, Vaughan, and Bellamy,

' My Patie is a lover gay.' • • •

Recit. Mr. Phillips, * At last the bounteous sun.'
Air. Mr. Phillips, * With joy the impatient husbandman.'
Round.— (An Evening Party)— < What laughing &ces.'
Finale. < God save the King.'

}

MsNnBLSSOHN,

Pansbbon.
Nbukomic

W. KnrvBTT.
Haydn.

HottNGASTLB.

Mozart's symphony was executed with the utmost nicety and
Feeling ; the slow movement, in a flat, produced what in Italy is
called a Jurore. Not less perfect was Mendelssohn's overture to
A Midsummer NighVs Dream, which, being new to some of the
provincial performers, put their skill to a severe trial, but they
came out of it triumphantly. The clever and lively trio of Cima-
rosa was, naturally enough, encored ; it wanted nothing but a
little more depth of voice in the third part. Mr. Machin sang
Neukonim*s cantata pretty well. No further evidence than this
work affords is required to prove the composer's knowledge as a
musician, the soundness of his judgment, and vividness of his
imagination. The Chevalier, too, enjoys another advantage, — ^he
knows good poetry from bad, and selects well. Mr. Moscheles^
a second time, won all hearts by his variations and the brilliancy
of his tone. The superiority of this hall, as a music-room, was
again evinced ; in every part the softest sounds of the piano-forte
were heard with the utmost distinctness. After a pretty ballad,
sung by Mrs. Knyvett, the madrigal redeemed the credit of the
choral band, which suffered on the first evening. Mad. Stock-
hausen, in her Swiss airs, Mr. Braham, in * Mad Tom,' and Mad.
Caradori, in a lovely ballad, charmingly sung, all received an
encore. But these repetitions drove the performances so late,
that Mr. Phillips, in the admirable air from The Seasons, was not
listened to with the attention he so richly merited. Of the round
the less said the Better. Between the acts, the Chevalier
Neiikomm again gave his imitations on the organ, prefacing
them with * Kule Britannia,' and several variations. His muse
certainly was not more propitious than on the former occasion.
* God save the King' ended the concert.

FOURTH MORNING, FRIDAT, OCTOBER 10.

PART Z.

Introduction, and Chorus. ' Ye sons of Israel,' • • Handkl.

Recit. Mr. Machin, 'These as they change,* * . Icii.wjott

Air. Mr. Machin,* In winter awful Thou,' . • . J^* "'""^•

MotCttO, . • .. . . . . • • HUMKKL.

(Arranged for thii Fettivai.)
Quartet and Chorus. ' Holy Lord.*
Semi-Chorus. * Lord ! hear us.'
Air. Miss Clara Novello, < Thou art our Father.'
Chorus. ' Praise the Lord of Hosts.*
Chorus. ' All glory he to the Father and to the Son.*
Recit. Mr, Brahano, ' Deeper and deeper still* « • . -i
Air. Mr. Br»hiim,* Waft her, angels, \ . • . UJephtAa.)
Recit Mrs. Knj-vrtt, * Ye sacred Priests,' • • . IHandbl.

Air. Mrs. Knyvett, * Farewell, ye limpid springs,* « • ^
Chorus. ' Rex Tremenda,' , . . . • • 1/'d-««,>-,\

Quartet. Madame Caradori, Messrs. Hawkins, Vaughan, and f Mozart.

Phillips, * Benedictus,' • -'

Air. Madame Stockhausen, ' Holy, holy/ (^Redempiian,) • Handel.
Choros. '0 sing unto Jehovah,*. • • • • Uayon.

PART It.

ISRAEL IN EGYPT.
Introduction.

Recit. Mr. Vaughan, 'Now there arose.'

Air. Mr. Hawkins, aud Chorus. < And the children of Israel s:ghed.
Recit. 'Then sent he Moses.'

Chorus. ' They loathed to drink of the river.*
Air. Mr. Hawkins, ' Their land hrought forth frogs.'
Chorus. ' He spake the word.*
Chorus. ' He gave them hailstones.'
Chorus. ' He sent a thick darkness.'
Air. Miss Clara Novello, < Hail, holy light'
Chorus. ' He smote all the first-horn.'
Chorus. * But as fur his people.'

PART m.

Chorus. * He rehuked the Red Sea.'

Chorus. * But the waters overwhelmed their enemies.*

Duet. Messrs. Phillips and Machin, « The Lord is a man of war.'

Chorus. * The depths have covered them.'

Chonis. ' Thy right hand, O Lord ! *

Song. Mr. Phillips, * Wave from wave.'

Chorus. 'The people shall hear/

Air. Madame Caradori.

Recit. Mr. Braham, ' For the horse of Pharoah.'

Chorus. * The Lord shall reign.'

Recit Mr. Braham, ' And Miriam the Prophetess.'

Air. Knyvett, * Sing ye to the Lord.'

Chorus. ' The horse and his rider.'

The attraction of this day was Israel in Egypt, and irresistible it
proved to all in the town and vicinity who could appreciate this
unrivalled choral work of the unrivalled master.

The miscellaneous part preceding the oratorio comprised some
excellent compositions, among which the fine opening of the ora-
torio (jf Joshua, in a double sense took the lead, and was most
accurately performed. The selection, erroneously called a
' motetto,' from a mass by Hummel, places him in a very dis^

THE MUSICAL LIBRARY.

tinguished position as a writer of chorus, and master of fiigue.
No man has the materials of music so readily at hand, and none
knows better how to employ them, so far as the art of putting
together with good effect, of scientific construction, goes ; but be
is not an original writer : we know but few indeed of the almost
numberless works from his pen that possess this rare and invalu-
able quality. Ample justice was done the author in the per*
Ibrmance of this. Mr. Braham's * Deeper and deeper still' is so
entirely his own, that when he retires^ it probably will not be
listened to again, at least by those who have heard him in it ;
often, therefore^ as it is repeated, its appearance in the program
k sure to give satisfaction. He never delivered it in a more
pathetic and perfect manner. Mrs. Knyvett, who followed in
* Ye sacred priests/ sang with exquisite feeling. The splendid
chorus from Mozart's Requiem was heard to every possible ad-
vantage ; and the quartet, ' Benedictus/ was sung in excellent
taste. The first part ended with a fugue from a mass (the fifth)
of Haydn.

Our surprise was somewhat excited at finding the overture to
Ariadne made to serve as an introduction to Israel in Egypt. It
is undeniably a good composition, and the minuet a great &-
vourite ; but the latter was, properly enough, left out : still we
could discover no musical or other kind of affinity between what
was given, and any part that followed.

The oratorio was not performed in an entire state, but the
dioruses omitted were those that could be best spared, though
we regretted the loss of the airs, * Thou didst blow/ -and ' Thou
•halt brinff them in,' as well as the lovely duet, * Thou in thy
mercy,' all of which might easily have been so managed as to
render interpolations unnecessary.

The accuracy and nicety with which the first chorus was exe-
cuted, led us to hope everything from the rest : we were not dis-
appointed. * They loathed to drink of the river,' a very difficult
fugue for voices; ' He spake the word,' for a double choir ; and
the wonderful choral reoitative, ^ He sent a thick darkness,' ex-
hibited not a blemish. When, by a signal from the President,
the Earl of Aylesford, the Hailstone chorus was encored, we
trembled lest it should not be performed in so absolutely perfect
a manner the second time ; but our fears were soon dissipated.
We now had to regret the intrusion of an air,/ H^l, holy light!'
forming no part of the work, and possessing no particular merit.
The ill effect of this was felt at the Abbey, and we ought not now
to have been revisited by an evil that cut asunder choruses, strictly
connected choruses, which the composer, Handel ! never intended
should be separated. When, however, ' He smote all the first-
bom of Egypt,' did come, its inherent beauty, and the delicacy
•jof its performance, indemnified us for what vexation the interpo-
lation had cost. The fine contrasts in * He rebuked the Red Sea'
-were admirably exhibited ; and the very trying fugue, * He led
them through the deep,' was without a single fault. The
chorus, * But the waters overwhelmed their enemies,* almost
chilling the blood by the image it excites, was rendered still more
tremendous by the addition of trombones and drums, a modern
improvement, and not in any printed score. The duet, ' The
Lord is a man of war,' so efiective in the Abbey, was not less so
now. In the two following choruses, some slight mistakes oc-
curred, but were only detected by those intimately acauainted
with the oratorio. Here should have been admitted the duet
mentioned before: why it was not, we cannot guesi. ' The
people shall hear' was performed with all the delicacy and ex-
actness that were so worthy of remark in Westminster Abbey.
Higher praise we cannot bestow. After this should have been
^ven the air that belongs, and is so exactly suited to the situa-
tion, * Thou shalt bring them in.' • The Lord shall reign' com-
pleted the day's performance most * glmously.'

In this oratorio, as also indeed in the Messiah^ the power and
utility of the new organ were especially and continually mani-
fested. Much of the fine effect produced by the music during
the course of the Festival is to be ascribed to its having been

Crformed in a room so highly favourable to sound, and assisted
an instrument which, under the hands and feet of so judicious,
so admirable a performer as Mr. Turle, is, in itself, a grand or-
chestra. It seems to us not unlikely that, as musical societies
increase in number and improve in skill, and as the art of organ*
playing advances, public performances of choral music, accom-
panied only by the noblest of instruments, must become common.
it will be found that they may thus be got up speedily, cheaply,
and therefore frequently ; and that auditors may be admitted at

a price 80 moderate as to enable all classes to enjoy a luxurf
which can tend only to innocent pleasure and general moral im^
provement.

A new instrumenty the double-base ophidside *, made for this
Festival, and now first introduced into England, proved eminentlr
serviceable in the choruses, and wherever strength was requirBO*
The volume of sound it emits is immense, but the tone is rich,
round, and bifida well with voices. We are much deceived if
tiiis instrument is not destined to operate a great change in the
constitution of our orchestras: well played, it will answer the
purpose of four double-bases, and is well calculated to form a
third part to the bassoons, which has long been a desideratum.
As a contra-basso to the trombones it will not be found less
useful. •

The receipts at this Festival amounted to about UflOOL, of
which sum it is estimated — for the accounts are not yet finally
made up^ — ^that nearly a moiety will be applied to we purpose
for which these music meetings are held — ^namely, in support o£
the Birmingham General Hospital. And thus usefully, as well
as brilliantly, has terminated a Festival, which, take it altogether,
has never been equalled, at least in our time, and which must
leave too deep an impression on all who were present at it ever to
be forgotten.

BEETHOVEN'S PIANOFORTE SONATAS.
To ike Editor of the Musical Library.

.Sf a. — I am induced to call your attention, briefly and generally, to this
subject, as, although Beethoven's Sonatas have been as long before the
public as any other section of his works, he is comparatiTely but tittle
regarded as a pianoforte writer ; which is the more extraordinary, as it
may be very confidently asserted that he has here a decided superiority
over the other three great modern writers of this class, Haydn, Mozart,
and Dussek.

Although from the well-known temper of various professional circles,
where it is customary to refer to the music of Haydn as the Opiime pars
nectaris in this species of writing (as if no such things existed as the
works in question), it is pretty certain that any one advancing the above
opinion will beheld guilty of a critical misdemeanour of no ordinary kind,
I should nevertheless be glad to be allowed to make a brief statement of
what I conceive may be urged in support of it^

It has been said of Dussek's music, that, with all its originality and
sweetness, it is liable to clog and pall on the feelings, from its mannerism
and want of variety ; an objection which is certainly founded in truth,
and which may possibly apply in some remote degree lo the parallel
music of Haydn ; at least, it is certainly rather to the greater variety,
than the depth and beauty of the thoughts, as well as to the extraordinary
manner in which he has availed himself of the capacity of the instru-
ments for which he wrote, that Beethoven is indebted for his supremacy
in this respect. These compositions are called ' Sonatas with a violin
accompaniment,' but, in fact, there is scarcely an effect of which either
instrument is capable, of which they do not abound in examples, the long
violin obligatos being perhaps among the finest things in them. If
there is anything in which Haydn is equal or superior, it is in the in-
spiration of the andantes^ a faculty that was peculiar to him, and with
regard to which we assuredly shall never look upon his like again.
Tliere is perhaps too, on the whole, a greater profusion of melodies in
Haydn's pianoforte music ; and it is probable, that had he written now,
instead of nearly half a century ago, when pianofortes and pianoforte
playing were in an inferior condition to that m which they are found at
present, his music would have been in no way inferior to Beethoven's.
But the latter had obviously the advantage of him in this respect, and
was, besides, at one period of his life, a fine violin-player, which may
account for the little exclusive partiality he has shown for either instru-
ment, the numerous and varied powers of each being here combined
with an effect wholly unexampled.

The finest of Beethoven's Sonatas are the two in ▲ minor, the one ia
c minor, and those in the keys of f and s flat Of these, the first, in
▲ minor, stands apart from the rest, at once for the originality and
beauty of its conception, and is undoubtedly the most extraordinary pro-
duction of the kind that has yet appeared. It is deeply coloured with
tlie fanciful aod dreamy wildness peculiar to the autho/, but without an
atom of the crudeness and prolixity occasionally found in company with
it, and from which the works in question are certainly not altogether free ;
the present, however, is an exception, and so remarkable is Sie unity of
thought which pervades it throughout, that even the ordinary pause
between the movements will be found materially to break and mar the
general effect.

* The woid Bignifiei a Aeynf $erpaU ; bat it has, m should tnpDoae, four thnei the
power of the common serpent. The scale of thu instiument it that of the contza*
oaiso.

THE MUSICAL LIBRARV.

The other sontka, hi a minoTy ciJIed the Grand Sonata, is as remarkable
for its difficulty as its beauty ; it is, however, highly brilliant and effective,
the first two movements especially, which have also a dash of his cus-
tomary wildness. Few indeed are the productions of Beethoven upon
which he has not, in a greater or less degree, left the impress of his
vntamed and turbulent spirit. The sonata in e flat is, however, one of the
few, and haa all the briUtattcy of a concerto, without the appearance of
effort and straining at effect, which so commonly distinguish those
daborate composttioiis. It has been said of Mocan*s concertos, that
they are merely ^rmphonies with the pianoforte obligcUo : perhaps so,
and it is this modest prominence of tne instrument, combined with the
varied and suppressed power of the orchestra, which renders them,
among other reasons, such infinitely finer things than the laboured
farilliancies of the generality of concerto writers. And |^nce it is, being
lihus rendered unfit vehicles for exhibition and display, that they are so
aeldom to be heard.

This last-named sonata, together with the grand one in a minor,
would make admirable concertantes for the two instraments, each taking
the lead in pvetty equal pronortiona throughout both. Beethoven is
remarkable for the beauty of nis scherzos^ and has been said by some to
have been the originator of the scherzo. Be this as it may, the versa-
tility of hia thoughts is never more conspicuous than in lus 9cherzo9t
the tone of deep and subdued, yet playful feeling which pervades some,
being no less remarkable than the vivid and exuberant brilliancy of
others. Those to the sonatas in f and c minor are instances of both kinds.

It is worthy of observation, that of the five moat beautiful of these
compositions, three are in minor keys ; a singular predilection for which
may be traced, in a greater or less degree, tliroughout the author's finest
works.

Much of the prevailing indifference to these compositions is un-
doubtedly to be referred to the innovating spirit that pervades them, in
common with the rest of Beethoven's music ; and possibly more to the
difficulties to be encountered in them ; which, it cannot be denied, are
a severe trial to the patience of the student. He however (or she) who
has the perseverance to overcome them, need never afterwards be afiraid
of anything in the shape of piano-forte music.

THE ROYAL MUSICAL FESTIVAL.

To the EniToa of the Musical Library.

' Brother, bzotfaer, we are both in the riffht,'

Sia, — I send jou herewith one of the books of the third day's per-
formance in the Abbey, to convince you that what I stated in my letter
to you last month (vide page 81, No. 7, Supplement) was correct.
At the same time, I beg to observe, that I make no doubt but that
several of the books prepared for the rehearsal remained on hand, and
that Messrs. Cramer, Addison, and Beale (who had contracted for the
whole) were anxkwa to dispose of them. There was no difference in
the title nor the date on the books.

The surplus amounted to more than nine thousand pounds {eight
was mentioned in your extracts from the Journal of an Amateur), so
that the Royal Society of Musicians, the New Musical and Choral
Funds, and the Royal Academy of Music, will each receive 2/250/.

I remain, yours, &c. &c.

Oct. Uih, 1834. John Parry.

FOREIGN MUSICAL REPORT.

VIENNA.

GRAND MUSICAL FESTIVAL

A NOTICE to the following effect has recently appeared in the "^nenna
papers.

Since the years 1812, 1813, 1815, and 1816, when, by the gracious
favour of his Majesty, concerts were given in the magnificent building
of the Royal Riding Academy, such as had never been heard before, ex-
cept in London, and far surpassing those of the British metropolis as
regards the number of the performers, 600 musicians having, on those
occasions, been engaged in the performance of Handel's immortal
worfcff, Alexandefi Feast, the Messiah^ and Samson, and of the Abb«5
8tadler*B oratorio, The Deliverance of Jerusalem — since that period,
many towns in Germany and Switzeriand have followed the example
thus set them, and celebrated, according to the extent of their abilities,
grand musical festivals, the vocalists and instrumentalists amounting to
from 800 to 500 persons.

After a lapse of eighteen years, it behoves the residence of the
Austrian monarchy, where the art has, up to the present time, found
one of her most delightful places of abode, once more to display, in the
fullness of its extent, its musical strength, so far exceeding that of other
European cities ; and thus, by the fact itself, victoriously to overcome the
Idea which is gaining ground in foreign countiiesy that Vienna has de-

serted the sublime and the classie hn muric for the frivolous and perish-
able.

Thb Society op the FaiEifca op Music op the Austrian £if«
PI RE has therefore resolved to get up a grand musical festival, similar to
those above-mentioned, and his Majesty has been graciously pleased to
grant the use of the Riding Academy for the purpose.

The festival itself is appointed to take place on the 6th of November;
to celebrate the saint's day of our Most Gracious Empress, and is to be
repeated on the 9th of the same month.

The work chosen for performance is G. F. Handel's Oratorio (never
before heard here), BeUhazzar^ with additional accompaniments by M*
Von Mosel, to whom we are indebted for the delight which Samsofif
Jephtha, and Solomonj in their present state, brought nearer to our own
times, have afforded us.

Then follows an earnest and pressing invitation to all artists and ama-
teurs to contribute their talents towards rendering the festival one of the
greatest importance.

The notice is dated * Vienna, 3rd September, 1834.*

BERLIN.

Konigliches Theater. — Since the departure of Madame Schroeder
Devrient tlie performances at this theatre have excited but little interest ;
Der Freyschuiz, Die Weisse Dame^ Auber's Braut, Der Barbier von
Seville, Der Tempter^ and DonJuan^ have been given : the parts of Re*
becca and Donna Anna, in the two latter, being sustained by Demlle.
Grosser, a dramatic singer of considerable promise. Besides these, we
have had Die Zauberflbte^ for the first appearance here, as Sarastro^ oC
M. Geisler, from Riga, who has a good voice (which may at one time
have been very fine), though but little has been done for it by way of
cultivation ; and also Bellini's Pirata^ in which Demlle. HiLhnel ap-
peared as Imogine, being her last performance before her temporary
absence from Berlin.

At the Konigsstadter Theater, Komer's comedy. Die drey Schul*
meister (the Three Schoolmasters) lias been crippled into the shape of an
operetta ; the music, of a light and melodious character, being furnished
by Girschner ; and on the 36th of August, Madame Schodel concluded
her engagem^t at tUa theatre as £oae in Des AdUrs Horst (the Eagle's
Eyrie).

At a sacred concert given in the Trinity Church, an oratorio, by the
conductor, Professor Dr. Marx, called Johannes der TUufer (John the
Baptist), for voices, that is to say, tenor and baas only, with organ
accompaniment, was so peculiarly treated, that no bright shining light
could gleam upon the audience through its mystic obscurity.

HANOVER.

Kapellmeister Marschner has remodelled his opera, Der Kyffhdiuer
Berg, in one act, and it - is expected to be produced ere kxig at our
theatre.

VTARSAW.
Since the last revolution, the Conservatory of Music here, founded by
its late very efficient director, M. Eisner, has ceased to exist ; this
telented and active individual, for upwards of twenty-five years, was
director first of the German, then also of the Folish Opera, and the
composer of several operas, which were produced here with success.
The dissolution of this admirable institution has already proved very
injurious to the opera. The principal Polish female singer we have
had was Demlle. Wolkow, who, however, left the theatre some years ago.
The ballet is good, as is also the drama, but the <^era ia cerUinly less
important than might be desired. At the same time we are not en-
tirely destitute of good singers ; the best remaining are Demlle. Kap-
linska and MM. Zylinski (tenor), and Szczurowski (bass), the latter
no longer young, yet still possessing a powerful voice. The kapell-
meister is M. Kurpmski, long known as a spirited director, the dis-
tinguished composer of from ten to twelve Polish operas, most of which
have drawn forth the liveliest applause, and altogether as a most talented
man. The orchestra is complete and well filled. M. Bilawski is the
principal violinist, no less eminent as a solo-player than as a leader.
One of the most recently produced operas was Zampa; and it is said
to be in contemplation shortly to bring out Robert der Tevfel. 3

Concerts are of rare occurrence ; resident artists having but very
seldom ventured upon them for years past, and no foreign vurtuosi o(
established fame having lately visited Warsaw.

Church music is at a very low ebb. The bkl organ of the cathedral
has been for the last twenty years in a sad state of dilapidation, and is
utterly useless. And this indeed, or very little better, is the condition
of most of the organs.

PARIS.

M. GidtJ's opera, V Angelas, whichj has-been produced at the Thidtre
da V Opera Comique, appears not to have pleased so much as his music
to the grand ballet. La Tentaiion. On the other hand, the re-pro-
duction of Boieldieu's Petit Chaperon Rouge, in which a young singer,
M. Coud^re, made a successful debut sa Rudolph^ afforded great delight;
Demlle. Massi sang the part of Rosa. ' A new one act opera, composed

THE MUSICAL LIBRARY.

by PaSr, Un Caprice de Femme^ has also been recently brought out at
this theatre, and very favourably received. The principal parts were
sustained by Mesdames Casioier and Boulanger, and it was very obvious,
from tlie manner in which the former acquitted herself, that the com-
poser had interested himself considerably in bringing out the opera.
The principal male character was allotted to Lemonnier, who was much
and deservedly applauded.

FLORENCE.

Teatro Per^oZa.— Ricci's Chiara di Rosenberg has been successfully
performed at this theatre ; the principal singers were Marietta Sacchi
and MM. Frezzolini and Scalese. Norma was subsequently given,
Mesdames Schiitz and Del Sere affording great gratification to the
audience.

At the Teatro BorgognisManiU Rossini's Semiramide was given ; the
prima donna Biagioli and the contralto Cajani effectively sustaining the
parts of Semiramide and Arsace.

Donizetti's Anna Bolena was performed at the Teatro Alfieri for the
debut of Smeralda Salvadori (as Seymour) f who experienced a very
encouraging reception. ^

ROME.

Teatro VaUe, — Donizetti's new opera, Torquafo Toiso^ was well received
here ; the prima donna Spech, with a sweet flexible voice and of a good
school ; the tenor Poggi, the buffo Lauretti, and particularly the young
and excellent basso, Ronconi (as Torquato Tasso), contributing in no
slight degree towards its success. This was followed by the Furiofo of
the same composer, which, though it had on a former occasion created
;bl furore at this very theatre, proved this time a failure. After this were
given Bellini's Sonnambula in a most admirable manner, and Le Fucine
di Bergeuy newly composed by M. Lauro Rossi, which latter opera was
performed but twice, the audience exclaiming at its conclusion, '* Oh
celeste Providenza, amen, amen 1"

NAPLES.
Teatro S. Carlo, — Of the operas performed here, naitiely, OteUo, La
Uazza Ladra^ Prova deW Opera Seria^ Matrimonio Segreto, and Irene
ossia VAssedio di Messina^ in all of which Madame Mali bran sang, the
latter only, by Pacini, was new ; of this the most attractive pieces were,
a duet between Madame Malibran and her sister Ruiz Garcia, and an aria
sung by David ; with these exceptions tlie opera was by no means
likely to add to the composer's fame. The ' Giornale delle Due
Sicilie,' in noticing this production, remarked that Pacini must have
burned out his imagination with the Conflagration of Pompei. (L'Ultimo
Giomo di Pompei was also written for the Teatro S. Carlo.)

VENICE.

Teatro d* Apollo (formerly Teatro S. Luca). — ^Tliis theatre'having under-
gone very extensive alterations and improvements, was opened last
autumn with Semiramide, the prima donna Giulia Micciarelli-Sbriscia
eliciting great applause as the Babylonian Queen; the part oi Anace
was. sung with feeling by the contralto Fanti ; Asmr was given by M.
Schoberlechner, who is in every way a fit representative of the character,
possessing a handsome figure and powerful voice ; and being an artist
m every sense of the word, his singing invariably excited enthusiasm.
The next production was M. Giuseppe Bornacini's opera, Ida, which
was performed twice, and then, as it could no longer maintain its ground,
withdrawn. After this was given Rossini's Assedio di Corinto, in which
Signora Micciarelli and the German basso were again triumphantly suc-
cessful. The tenor Mazza was also very efficient as Idreno ; and the
choruses, particularly that in the last act, were admirably sung.

GENOA.

Teatro Carlo Felice, — ^The season commenced here with Donizetti's
Elisir d*Amore ; the part of Adina by Parlamagni, that of Nemorino
by the tenor Basadonna, and that of Dulcamara by the buffo Cavalli ;
their united talents earning for the opera a more brilliant reception than
it was its fate to encounter in most of the many Italian towns in which
it has been given. La Cenerentola was performed at a later period, and
also Amalia e Palmer, by the Maestro Cavaliere Filippo Celli.

A new, elegant, and beautifully decorated theatre, Teatro S. Pier
6^ Arena, has recently been opened in the suburb bearing that name.
Here also the first opera was the Eliiir d*Amore, which was followed
by Ricci's Orfana di Ginevra ; the singers were Signora Aman, the
tenor Antognini, and the buffo Rota.

TURIN,
Donizetti's Furioio has proved very attractive here ; a cavatina by the
prima donna Boccabadati, a duet between Cardenio and Caimadd (MM.

Salvatori and Graziani,) and a romanza by the former, were the gems
of the opera. II Borgomastro di Saardem, likewise by Donizetti, with
the overture to the Freyschfitz, and several pieces by Pacini and Rossini
introduced, was unsuccessful. This was followed by Semiramide, in
which at first Boccabadati, and subsequently when illness prevented her
appearing, Madame Fink-Lohr took the part of Semiramide, After
this was to have been given Zelimo e Zora, ossia U Califfo ricono9ciutOf
by the Neapolitan Maestro Luigi Bordese, pupil of the Conservatory at
Naples ; but all at once the new prima donna Fink too, and MM. SaU
vatori and Graziani, were taken ill. Hereupon a written declaration*
signed by the director. Count Lustemo, was transmitted ex officio, by the
royal theatrical direction, to M* Bordese ; the substance of which was,
that the music of the said opera was declared, not only by all the Maestri
di Capella near at hand, but by the singers themselves, to be written
according to all the rules of counterpoint, and to the present good musical
taste ; and that the indisposition of the singers alone prevented its being
given.

At the Teatro Sutera were performed the Elisir d^Amor, Vaccaj's
Pattorella Feudatoria^ and Rossini's Torvaldo e Dorlisca.

BOLOGNA.

Gran Teatro delta Commune, — Coccia's opera, Edoardo in Scozia^-^
which was given here in a most miserably mutilated condition, the whole
of the finale to the first act, amon^ other things, being omitted, and
numerous unsuitable pieces by Rossini, Pacini, Bellini, &c., being intro-
duced — experienced an unfavourable reception. La Straniera was equally
unsuccessful, and the fate of Norma was little better ; for what with
alterations, transpositions, excisions, and introductions, success was out
of the question.

TRIESTE.

Bellini's Capuleti e Montecchiy in which Mesdames Roser and Man-
zocchi and MM. Bonfigli and Barroilhet sang, made a favourable im-
pression here. The reverse was the case with Mercadante's JVormanni
in Parigi; and the opera Jacopo di Falenza, composed for this theatre
by the Maestro Ruggiero Manna, was but indifferently received. Doni-
zetti's Anna^Bolena was also brought forward, with Manzocchi as the
prima donna, but was not very attractive.

LUCCA.

Here also J Capuleti e Montecchi was given ; at the third performance
the distaste of the great mass of the audience, which had been un-
sparingly manifested during the preceding representations, was expressed
so violently, that the tumult of applause raised by the friends of the
opera, as well as of the singers, could not avail to save it ; the fall of
the curtain in Uie midst of the performance put an end to the uproar
and confusion. The tenor Milesi principally, and partly also the music
of the opera, induced this catastrophe. A new tenor, M. Regoli, was
forthwith engaged, and the opera Norma was successfully substituted.

PADUA.

Teatro Nuovo, — Ricci's Nuovo Figaro created a great sensation here.
The prima donna Taccani has a good style, but her voice is weak. This
was followed by Donizetti's Furioso, in which the prima donna Luigia
Triulzi from Milan met with some applause, but the opera survived only
two representations. // Barbiere di Siviglia was subsequently given.

PALERMO.

After some very satisfactory performances of La Cenerentola^ in which
the singers, Signora Carobbi and MM. Giovannini, Cipriani, and Marini
acquitted themselves very admirably in their respective characters, a new
opera, Adismano in Scozia, composed by M. Luigi Somma, an amateur
and director of the Philharmonic Society of this place, was produced.
Its reception was truly gratifying, both to the composer and to the
singers ; the music, considered as the first attempt of a modem dilet-
tante, may be said to be forcibly written, and it bears testimony to the
depth of the composer's musical knowledge.

TO CORRESPONDENTS, &c
Thb length to which the account of the Birmingham Festival has extended — and it
could not with propriety he abridged or delayed— compels vm again to defer arttdei
which stood over from our last We are also obliged to postpone the Review, the
Jmtmal, an account of three distinguished musicians lately deceased, vis., MM.Ghoron
and Boieldiea, and Signer Spagnoletti, and other matter, not only prepared, but set
up in type, for the present Number.
Our conespondents will be answered in our ossL

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET.

FftnmD BT WILLIAM CLOWES, Duu Stbut, Lahbcte,

MUSICAL LIBRARY.

No. IX. DECEMBER, 1834. Price Sixpence.

P*ge
The Music of Part IX. ..;.•• 97

Amateur Musical FestWal, Exeter Hall • 99

Concert in Aid of the Royal Dispensary for

Diseases of the Ear • 100

CONTENTS.

Sodety of British Musicians • • • «
The Musical Festival of the Lower Rhine
Foreign Musical Festiyals • • • • •
En^clish Words to the < Creation ' • , •
Review •••»••••••

Page

100

101

102

103

Page
Extracts from the Journal of a Moacal

Amateur 104

Necrology •••••••••• 105

Foreign Musical Report •••••• 106

The Drama ••••••••• 107

THE MUSIC OF PART IX.

Air, with Variations — (Page 145).

One of the single pieces of Beethoven. The effect of this is fre-
quently lessened by being played too quick. The sixth variation
may be rather piu mo^o, out at the Coda the first time should be
restored, accelerating it again when within seven bars of the
conclusion.

Introduction and Rondo — (Page 149),

Tlie first movement, and part of the second, of Weber's Aufforde-
rung xum Tanze, which we have transposed from Db to Eb.

Overture to Don Giovanni — (Page 153).

The German adaptation of this work is here adopted, but with
some alterations. The overture, in its original state, may be said
to have no actual termination^ for it comes to a pause in the key
of c, or, more correctly speaking, on the dominant of F, then
merges in the Introduzione, ' Notte e giomo faticar ;' it is, there-
fore, now brought to a close by the few bars always added when
performed in a detached state.

Three Choruses — (Page 159).

1. Surely he hath borne our griefs and carried our sorrows. He was
wounded for our transgressions ; he was bruised for our iniquities : the
chastisement of our peace was upon him. — (Isaiah.)

2. And with his stripes we are healed. — (Ibid,)

3. All we, like sheep, have gone astray ; we have turned, every one*
to his own way : and the Lord hath laid on him the iniquities of us
M.—(Ibid.)

From the second act of The Messiah. This fine suite of choruses
must never be disunited, whether performed by a full orchestra
or only in an adapted state. Handel wrote the second in alia
breve time : for the convenience of modern, indeed of all, players,
we have divided each bar into two parts.

Duet— (Page 141).

When the moonlight, streaming,

Gilds fair Nature's face.
On her slumbers beaming

More than mortal grace—
Oh ! how sweet to wander

'Neath that pensive ray.
Soft on her to ponder

Who is far away.

The melody, or subject, of this is an old French air, ' Le clair
de Lune,' which Boieldieu converted into a duet, and intro-
duced as such, we think, in one of his operas. Concerning the
composer, who died very recently, some information will be found
in a subsequent part of this Number. The present English words
were written for the Harmonicoa ten years ago by Mr, W. J.
Walter, and are now republished by permission of the proprietors
of that work.

Ballad, HEBE— (Paige 144).

When forced from dear Hebe to go.

What anguish 1 felt at my heart !
And I thought — but it might not be

She was sorry to see me depart.
She cast such a languishing view.

My path I could scarcely discern ;
So sweetly she bade me adieu,

I thought that she bade me return.

Methinks she might like to retire

To the grove I have laboured to rear,
For whatever I heard her admire

I hasted and planted it there.
Her voice such a pleasure conveys.

So much I her accents adore,
Let her speak, and, whatever she says,

I 'm sure still to love her the more.

And now, ere I haste to the plain.

Come, shepherds, and talk of her ways ;
J could lay down my life for the swain

That should sing me a song in her praise.
While he sings may the maids of the town

Come flocking, and listen the while ;
Nor on him let Hebe once frown,

But I cannot allow her to smile.

4.
To see, when my charmer goes by.

Some hermit peep out of his cell.
How he thinks of his youth with a sigh !

How fondly he wishes her well !
On him she may smile if she please,

It will warm the cool bosom of age ;
Yet cease, gentle Hebe, O cease! —

Such softness will ruin the sage.

5.
I 've stolen from no flow'rets that grow,

To paint the dear charms I approve ;
For wnat can a blossom bestow

So sweet, so delightful, as love ?
I sing in a rustical way,

A shepherd, and one of the throng ;
Yet Hebe approves of my lay : —

Go, poets, and envy my song !

Part of the words of this ballad are from the fifth stanza o*
Shenstone*s Absence, the third of his Hope, and the third of his
Solicitude ; the rest by an unknown author, who has transformed
Phillis into Hebe, and converted the shepherd's woe into rapture.
The music of this originally appeared in « The Agreeable i^tsical
Choice, a collection of English Songs, by Mr. (afterwards Dr.)
Arne/ (1740), aud has been restored to that public &vour to
which its merits so justly entitled it nearly a century ago, by the
charming manner in which Mr. H. Phillips has lately been
singing it.

THE MUSICAL LIBRARY.

THOMAS AUGUSTINE ARNE^ MUS. DCX^.^

Son of a celebrated upholsterer* in King Street, Covent Garden,
was born in 1710. He was educated at Eton School, having
been intended for the law, and served a regular clerkship to anr
attorney ; but fortuYiiiely for his fame, and for all lovers of song,
his natural bias successfully opposed his father's design, and
parchment was soon discarded from his desk, to make way for
music-paper. Such was his passion for the art, that, after leaving
Eton, his finances generally being low, ' he used to avail himself
of the privilege of a servant, by borrowing a livery, and going
into the upper gallery of the Opera, which w as then appropriated
to domestics.' This curious anecdote was related by himself to
Dr. Burney.

The young Ame was at length permitted to devote his thoughts
exclusively to music, and discovering in his sister (who was
destined to become the celebrated Mrs. Cibber) not only a taste
similar to his own, but also a ' sweet and touching voice,' he
undertook to instruct her, and soon qualified h^r to appear as a
successful public? singer. He then, being only eighteen years of
age, set to music for her Addison's Rosamond, in which she per-
sonated the heroine, a younger brother of the composer repre-
senting the character of the Page.^

After this he set Fielding's Tom Thumb as a burletta; and in
1738 produced the music of Cornvs, which immediately esta-
blished his fame. Here his powers were more folly developed ;
the town were no less astonished than delighted with his work,
and its success was as great as its merit. In 1740 he married
Miss Cecilia Young, a pupil of Geminiani, and went with her to
Ireland, professionally, where both were most hospitably received.
In 1742, he was engaged, with his wife, by the managers of Drury
Lane Theatre, and produced the two masques, Britannia and The
Judgment of Paris; also Elizas an opera, and Thomas and Sally ^
an afterpiece.

In 1745 the proprietor of Vauxhall, Mr. Tyers, having re-
solved to introduce vocal, in addition to instrumental, music at
those gardens, engaged Ame to compose and Mrs. Ame to sing ;
hence the many charming songs, ballads, &c., to which his fertile
fancy gave birth, and which were sought with avidity by amateurs
in all parts of the kingdom. Subsequently, he composed his two
oratorios, Abel and Judith; and in 1769 the University of Ox-
ford conferred on him the degree of Doctor. In 1762 his great
work, Artaxerxes, appeared, the text of which is a free translation
of Metastasio's Artaserse^ made by himself. The prodigious suc-
cess of this at the time, and the favourable manner in which it
has invariably been received during a period of more than seventy
years, increasing in estimation as it increases in age, is an incon-
testable proof of its excellence, and the best answer to those small
critics who have been foolish and presumptuous enough to call
its merits in question. After this, he composed his opera The
Fairies, the music to Mason's Elfrida and Caractacus, additions
to Purcell's King Arthur, several of Shakspeare's songs, and The
Jubilee ; besides many glees, catches, and canons. Among his
glees is * Come, shepherds, we '11 follow the hearse,' (Cunning-
ham's Elegy on the Death of Shenstone) — a work in itself enough
to make the reputation of a composer. For his labours in this
branch of music, the members of the Catch Club awarded him
no less than seven gold medals.

One work by Ame still remains to be mentioned: ' When
Britain first at Heaven's command,' or * Rule, Britannia!' which
will descend to latest posterity, and bear along with it the name
of its no less fortunate than gifted composer.

Dr. Arne died in 1778, and was buried in St. Paul's Church,
Covent Garden.

Aria — (Page 146).

Per pietJi, non dinni addio !

Di te priva, che far6 ?
Tu lo sal, bell' idol mio,

lo d'affanno morir6«

* 'Mir, Aro« had for his sign the Crown and Cushion, and is said to have been the
Political Upholsterer so humourously delineated in the Tat/er, No. 156. At his
house lodged the four Indian kings, in the reign of Queen Anne^ as mentioned in
the Spectator, No. 50. Addison, it would seem, amused himself frequently with the
conversation of this Quidnunc,

f This was first performed at the Theatre LincolnVInn-Fields, in 1733, thus
cast:— 7%« Xiny, Mrs. Barbier; Sir Trusty , Mr. Leveridge (the famous composer) ;
Page, Master Ame; Messenger, Mt. Corfe; Queen, Mrs, Jonet; Oriitldine, Miss
Chambers j JRosamondj ^Hm Am9,

This is the Canto6i7e movement in Beethoven's fine scena, 'Ah!
perfido! — spergiuro!' which seems to have heen composed for
some opera; but we can find no account of the composition^
though, comparatively speaking, of recent date. The scena is
Beethoven's dramatic chef-d'oeuvre ; his Fidelio contains nothing
at all comparable to it. It is the passionate effusion of a Didcne
abbandonata, one deserted by her lover, whom she at first devotes
to the angry deities, then relents, and entreats him not to leave
her; * Per piet&, non dirmi addio,' (for pity's sake, bid me not
adieu) ; but afterwards upbraids him with his cruelty to one by
whom he is adored. The movement now given is the tender ap-
peal only.

Canzonet — (Page 149).
Sympathy, i

In thee I bear so dear a part.

By love so firm am thine.
That each affection of thy heart

By sympathy is mine.

When thou art grieved, I grieve no less,

My joys by thine are known ;
And ev'ry good thou would'st possess

Becomes in wish my own.

The above is Hoole's translation of the lines beginning * Carp^
son tua cosi,' in Metastasio's Olympiade, {atto iii., Sc, 3za.) The
music is the third canzonet of Haydn's second set.

Song— (Page 152).
Ada to Alexis^ with a rose*

To Alexis I send thee,

He from henceforth will regard thee ;
Smile when he shall look toward thee ;

Be as I myself should be.

From the bud just newly bbwn

I send thee ; he will caress thee ;

Then his lips shall fondly press thee :
All thy import will be known.

Like a breathing kiss, sweet flower^
Thou must softly tell him, mind me.
Where hia thoughts must tend to find me

At the sunny noontide hour.

Translated by John Oxenfofd, Esq., as literally as the air would
admit, from the original German, — ' An Alexis send ich dich.'
The music is one of the most deservedly admired compositions of
Himmel.

Glee— (Page 154).

Health to my dear, and long unbroken years.
By storms unruffled, and unstain'd by tears !
Wing'd by new joys may each white minute fly.
Health in her cheek, and sunshine in her eye!

O'er thfit dear breast, where love and pity spring*
May Peace eternal spread her downy wing;
Sweet beaming Hope her path illumine still,
And fair ideas all her fancy fill.

Written by Mrs. Barbauld. Tlie music composed by

REGINALD SPOFFORtH,

a native of Southwell, in Nottinghamshire, a place famed for its
venerable collegiate church, of which his uncle, Mr. Thomas
SpofForth, was organist, who so ably instructed his nephew in
music, and by his example as well as precept fixed in him such
habits of industry, that at an unusually early age he became
qualified to officiate for his relation, and distinguished himself at
the concerts given in different parts of the coimty. Being much
noticed by Sir Richard Kaye, Bart., a prebendary of Southwell
and dean of Lincoln, he accompanied his patron to the latter
place, and for a short time acted as deputy-organist of the cathe-
dral '*, but soon quitted that city and proceeded to London,
where he became a disciple of Dr. Cooke, under whom he studied
upwards of three years, with every advantage that could be de-

« lo a memoir of Mr. Spofforlh, written by a friend, and prefixed to a collection
of his glees now publishing, it is stated that he became actually organist of Liuooln
cathedral, an error which the aut)ioi will doubtless be happy to xectujo

THE MUSICAL LIBRARY.

nved firom so achnirable an instructor^ seconded by the most un-
wearied assiduity. He also took lessons of Steibelt on the piano-
forte, and devoted some portion of his time to the Italian language.
But his knowledge and skill were not immediately productive ;
•and he had to encounter pecuniary difficulties, for bis father was
unable to assist him, and his uncle — a miser such as is rarely
met with but on the stage-^was unwilling. His wants, however,
were few ; and his talents in every branch of his profession at
length forced him into notice. In 1793 he offered to the Catch
Club a serious and a cheerful glee, as candidates for the prizes,
and obtained both : * Where are those hours ? * and ' See, smiling
from the rosy east,' were the successful compositions. He now
formed an acquaintance with Mr. Shield, musical manager of
Covent Garden, and contributed many songs, duets, &c., to
various pieces produced at that theatre. When the latter set out
on his Italian tour, Mr. Harris offered the vacant appointment to
Mr. Spoffbrth, who, weighing the difficulties and vexations in-
separable from the office, with great prudence declined the pro-
posal. He now determined to divide his time between tuition
and the composition of glees, and was soon so much occupied by
the former, while he devoted to the latter hours that ought to have
been surrendered to sleep, that his healtli was gradually under-
mined, and he at length fell a victim to his industry and appli-
cation.

In 1797 he undertook the musical direction of a society, called
the Bowman's Lodge, which was supported by many of the beau
fnonde. He klso accepted the place of organist to Fitzroy Cha-
pel, which he relinquished for that at Eltham, where he passed
much time, giving lessons at a great school in the neighbourhood,
and enjoying the society of his friend Mr. Laurence, brother to
the learned civilian.

In 1826 Mr. Spoffbrth lost his uncle, whose fortune fell 1o
him: he, however, enjoyed his independence but for a short
period. The year after, in the month of August, the nervousness
of which he had so long been the prey, and which for many years
had prevented his attempting any new work, appeared in a fatal
form. On the 31st he was attacked by paralysis, and lost the
use of one side. In this state he continued till the 8th of Sep-
tember, when he expired, in the fifty-eighth year of his age.

Besides the two prize-glees above mentioned, Mr. Spoffbrth
produced several of at least equal excellence ; among which,
' Marked you her eye of heavenly blue? ' ' Health to my dear ! '
* L*Ape e la Serpe, ' Hail, smiling mom,' and ' Come, bounteous
May,' are become musical classics, an honour which their intrinsic
merit alone obtained ; for the author was a man too modest in his
nature, too retiring in his habits, to have recourse to means
adopted by many, and perhaps fairly, for the purpose of forcing
their works into notice*.

AMATEUR MUSICAL FESTIVAL, EXETER HALL.

Whether the English are or are not a musical people has been
a debated point for years past. We have always ranged ourselves
on the affirmative side of the question, having seen that music
enters so largely into all our religious ceremonies, and is the main
ingredient in all our public amusements ; that no military parade
is without it, and that even our ships of war are now conunonly
prorided with something of a band ; that it is considered of the
first importance in the education of one sex down to almost the
labouring orders of society, while its cultivation by the other is
daily increasing ; and that in the manufacturing districts it is the
solace of a considerable portion of the better class of artisans,
who could at any moment furnish thousands thoroughly conver-
sant in a branch of the art by no means the easiest — namely,
chorus-singing, to which, from taste alone, and without any view
to gain, they dedicate most of their few leisure hours.

Had not these facts been sufficient to convince us, we should
have found additional evidence in the large sums annually ex-
pended on music in this country, in the manner in which the
many music meetings are attended, and in the good taste almost
invariably displayed by the audiences at each and all; not in
any particular districts, or under the influence of fleeting fashion,
but in every part of Great Britain, and for a long series of years ;
in war and in peace, in years of security and prosperity, and in
reasons of danger and difficulty.

But if^ notwithstanding sucn demonstrations, we had still con-

* From tht Harmomc9» for Sept., 1833.

tinued sceptical, the recent performances at Exeter Hall would
have left us without the shadow of an excuse for incredulity. He
who witnessed these, and still maintains that the English are an
unmusical people, is near akin to those who * have eyes but see
not,' and not likely to be influenced by any argument in our power
to advance.

Exeter Hall, the largest room in London, and capable of hold*
ing 2000 people seated, independently of the orchestra, was en«
gaged for this Festival, because no other place of the required
dimensions was to be found. For musical purposes it is too wide
and the ceiling too low ; hence many of the performers were far-
ther apart than convenient, and the sound was too suddenly
checked. But in the surprise produced by such an assemblage
of amateurs these defects were little noticed. Of the 700 per-
formers, we believe that the professional part did not amount to
a twentieth of the whole : yet, in point of accuracy, the choruses>
with very few exceptions, went off in a manner little inferior to
the recent performances of the same in Westminster Abbey and
at Birmingham. The trebles were actually superior to any we
had before heard ; their intonation was singularly perfect*. The
instrumental was not so strong in proportion as the vocal band ;
but the task allotted to the former department is the most diffi-
cult, especially as relates to the wind instruments ; and instead of
complaining of the few failures it exhibited, we must express our
great surprise that they were not much "more numerous. The
organ was the worst instrument in the- orchestra (we do not allude
to the players, who were professional, and executed their duties
ably); it screamed abominably, and exceedingly out of tune;
added to which, every now and then a note cyphered^ i. e., im-
pertinently sounded, though the key was not touched, and at first
alarmed us for the fate of the choruses.

First Performance — Thursday Evening, Oct. 30th.

This was a selection, beginning with the first, second, and fourth
movements from the Dettingen Te Veum. The omission of the
third, ' To thee all angels cry aloud,* intended by Handel as a
contrast, was an oversight, and brought three choruses together,
similar in character, and in the same key. 'O Father, whose
Almighty power' went well, but was much too slow. The great
chorus, * Fall'n is the foe' was most correctly performed ; but
whoever added certain wind instruments to it will do well never
to make a second experiment of the kind : the introduction of
the flute was perfectly ludicroiis.

Though we shall say little of the solo parts, we cannot but
notice the very indifferent performance of ' Lord, remember
David;' Mr. Sapio almost caricatured it; and we regret to add
that his * Total eclipse' was much in the same false taste. Miss
Bruce, too, in ' Angels ever bright and fair' betrayed a want of
acquaintance with the style in which such music should be sung.
A portion of Mozart's twelfth mass was well performed, the last
chorus more particularly, which never was heard to more advan*
tage : not less perfect was a motet by the same, to the words
' O God, when thou appearest !'

A gentleman named Turner, in Luther's Hymn, and after*
wards in the trying scene ' Deeper and deeper still,' pleased and
surprised us mucn. His performance of both was more than
respectable. Mr. A. Novello delivered the recitative ' It must
be so' in a sensible manner. We mention him because a young
performer : he has a good base voice, and promises well. The
Hallelujah, from ITie mount of Olives, was unsuccessful ; and

* When his loud voice,' the fine chorus in JephthcJi, not much less
so. The conductor seemed himself at a loss in both. But

* Fix'd in his everlasting seat' made some atonement for the pre-
ceding errors.

Second Performance — Monday, Nov. 3.

The whole of this second performance showed how much all had
profited by the first day's experience ; for though the tasks im-
posed on the performers were of a more arduous nature, they were
executed with greater confidence and precision.

The first portion of this concert consisted of the first and best
part of The Creation, which was surprisingly well performed, the
difficult opening. Chaos, and the two following choruses particularly.
Mr. Sapio did much to redeem himself in the accompanied reci-
tative, * In splendour bright.' The grand chorus that succeeded^

* The heavens are telling,' was admirably executed.

* It ii taid that among the lady choros-singen were aome who came in their owsi
caxriagei. We mention thii only to piore the seal of amateun.

K 2

100

THE MUSICAL LIBRARY.

• In the very original and elegant duet of Marcello, ' Qual ane-
lante/ a Madame Garcia joined Miss C. Novello. She possesses
a full-toned contr* alto voice, and well seconded her clever com-
panion. Afterwards, in * Gratias agimus tibi,** the air seemed to
be beyond her powers. The sublime chorus, ' Glory to God,'
from Joshua, closed the second part very splendidly.

The third part included most of Israel in Egypt. A slight
failure at the commencement of the first chorus excited some fear
for the rest, but it proved groundless ; the whole afterwards was
performed with a nicety as well as a correctness that was hardly
to be hoped for, much less expected, from amateurs — amateurs,
too, who. we believe, had never all been brought together till they
met at this festival. We must, however, protest against any pause,
any interval of time, being allowed between the Hailstone chorus
and * He sent a black darkness ; ' the effect of the latter was lost
by the separation that now took place, which we the more la-
mented, as this exceedingly difficult composition hardly admitted
of the slightest improvement.

The remaining choruses, and severe trials they are of the best
singers, scarcely exhibited a single fault, as regards the perform-
ance of the actual notes. Both on this and every other occasion
of the kind, we have felt that more attention to light and shade
should be shown in all choral performances, which also admit of
much greater expression than is generally supposed. But im-
provement is going on rapidly, and in very few years we shall
hear the most elaborate compositions of this kind executed as
delicately as a quartet.

On Wednesday, the 5th of Nov., The Messiah was performed;
but on sending for a ticket on the morning of the day, we found
it impossible to procure one : all were sold, and above a thousand
people were disappointed in obtaining admission. In consequence
of this a fourth performance took place on the following Friday,
which, as it was a repetition of the second, we did not attend.

The Messiah, an impartial judge tells us, betrayed no falling-
off in these performances. Indeed it was to be presumed that a
work with which all are familiar would be at least as perfect as
those that are not so generally well known, particularly to unpro-
fessional people.

It is now time to state that this Festival was for the benefit of
the Westminster and the Charing Cross Hospitals ; — that every
amateur attended gratuitously, none present accepting any remu-
neration, except the few professional performers ; among whom
were Mrs. Knyvett, Miss C. Novello, Messrs. H. Phillips, Sapio,
Hawkins, A. Novello, &c. Mr. F. Cramer led the band, and
the principals of the various instruments were Messrs. Moralt,
Lindley, Dragonetti, G. Cooke, Piatt, Harper, &c. not naming
the amateurs. The organists were Messrs. Henshaw, Jones,
Brownsmith, and Turle.

It would be unjust to close this account without saying how
much of the success of the Festival is to be ascribed to Mr. W.
Holderness, who not only, by dint of great labour and perse-
verance, got the meeting together, but conducted each perform-
ance with an ability that some professors whom we have seen
brandish the baton may envy.

No return of the proceeds has yet appeared ; but it is expected
that the funds of each charity will be augmented by little less
than a thousand pounds in consequence of tliis meeting of the
musical amateurs of the metropolitan district — the first of the
kind that ever occurred. W^e earnestly hope and recommend
that it may not be the last ; but that so long as there is a proba-
bility of as favourable a result, or anything approaching to it, a
similar Festival may be celebrated annually ; and that some at
least of those great personages who now were patrons in name
may be induced to become so in person.

CONCERT IN AID OF THE ROYAL DISPENSARY
FOR DISEASES OF THE EAR.

A COKCERT for the benefit of the above institution took place at
the Mansion House last month. The orchestra was well filled,
havino" amongst its numbers many of our most esteemed instru-
mentalists — Lindley, Nicholson, Mori, and Harper. Among the
vocalists were Mrs. Wood, Miss Bruce, Miss Betts, Madame
Stockhausen, Miss Postans, Begrez, and Giubilei. Mrs. Wood
sang the ballad of • We met.* Miss Postans made her debut in
' Se m'abandone.' Miss Bruce sang Handel's ' Let me wander.'
A new and beautiful production by Neiikomm, ' The Vintage

Song,' was sung by Madame Stockhausen, under the direction of
the Chevalier, the words by Barry Cornwall. Giubilei sang
'Largo al factotum,' and Begrez his own ballad, 'Say you'll
remember.' Mori performed a composition of De Beriot on the-
violin. Nicholson, with Stockhausen, executed a duet on the-
harp and flute ; and Moscheles a masterly fantasia on the piano-
forte. In fact, the concert was highly respectable, and proved
the zeal of the persons interested in the welfare of the excellent
institution for the support of which it was given.

SOCIETY OF BRITISH MUSICIANS.

An association under this name was formed last spring, and has
just begun its operations. The Society consists of 300 profes-
sional members; its object is the encouragement of ^native talent,'
and this is to be accomplished, or to be attempted, by six annual
concerts, at which are to be performed only the compositions of
the true-born sons of Albion and of Erin.

Of the utility of such a society we entertain considerable doubts.
That the tide of fashion sets strong against the productions of
British composers we are, and long have been, well aware ; but
the English musician may console himself by reflecting that
fashion has almost invariably discountenanced good music, what-
ever its place of birth. Handel was ruined by petty intrigues
formed against him by the exclusives of his day, and retrieved his
fortune when he appealed to the judgment of the people at large.
Weber, when only a few years ago he visited this country, was
treated with marked disrespect by ' all the fashion,' and not a
note of either of his two fine operas, the Freischutz and Oberon,
was ever heard at more than one or two of their numerous private
concerts. And why ? — For precisely the same reason that Han-
del was not listened to by the same class ; — his music was too«
intellectual, was above their comprehension. As a body (we
know and admit that there are many individual exceptions)
fashionable folks understand and relish only what is jejune,
what consists of phrases and cadences of the simplest kind, and
exacts no fixed attention. Even the great works of their latest
idol, Rossini, never met with the saine favour from them as his
light compositions — compositions devoid of harmony, in which
the same passage is repeated over and over again, till the indolent
hearers have it drilled into them.

If, when Ariosti and Buononcini were by the fashionable circles
preferred to Handel, a society had successfully been established
for the performance of the compositions of British musicians only,
where would now be the oratorios of that first of masters?
Driven out of the beau monde, excluded by a party acting under
an invidious resolution and representing or influencing the public^
generally, the great German genius would have laid down his
pen in disgust or despair ; and the probability is, that what has
long been the delight of alJ possessing any real taste in these isles,
and is at length making its way in every civilized part of Europe
and America, would never have been called into existence!

It has been said that the British composer has hitherto
had no means of being heard. This is an assertion as bold as
untrue. Were not all the national theatres open to him, till of
late years his inferiority to foreign composers could not be con-
cealed, and his weaknesses, or his imitations, could no longer be
endured ? Did not the managers of those mongrel concerts>
called oratorios, receive and perform many things, during the ex-
istence of such motley performances, by English musicians ? The
Ancient Concert, it is true, excludes all music of living composerSj^
all of every kind that is not of a certain age ; but the Philhar-
monic Society, both by its laws and its practice, is open to every-
body and everything that the directors judge admissible. And
what was the result of the engagements made last season with
* native talent ? ' — ^W^'e refer to our own columns for a reply.

We desire, however, that we may neither be misunderstood nor
misrepresented. We approve of a cheap concert, in which the
productions of the obscure, the unpatronized musician, if talented,
may be heard ; but we object to the exclusion of any foreigner
placed under the same circumstances, and having the same pre-
tensions. His rejection is a tacit acknowledgment that he is
feared — that the British musician does not dare enter into fair
competition with him. Let, then, this injudicious, this suspicious
law be abrogated — for art is cosmopolitan — then the real merits of
' native talent' will be brought to a true test. We drink no British
port, at least not willingly, because foreign port is better. We

THE MUSICAL LIBRARY.

101

taste no foreign beer because British beer is superior. When
British musical genius is found only equal, we will not say supe-
rior, to foreign genius, it will not stand in need of any prohibitory
laws; the people will afford it all the encouragement that it shall
be found to deserve. From the ultra-fashionables — the Almack-
if €9 — it must look for no encouragement : they would even insist
upon eating bread made of foreign flour, but that, by consenting
to consume the produce of their own country, they are, by means
of laws amounting almost to prohibition, enabled to fiU their cof-
fers out of the pockets of the people.

The first concert of this society took place on Monday, October
the 27th, at the Hanover Square Rooms. Having been engaged
at another musical performance, we could not attend this, but
were present at the second, on the 17th of last month, the pro-
gram of which we insert, though we shall not in future be able
to afford space for such practice.

CORONATION ANTHEM.
(^Composed expressly for and performed at the Coronation of their Majesties)^

T. Attwooo.

ACT I.

Overture, MS. (Dramatic) Hbnrt P. Hilt..

Canzonet, MS. Miss Birch, ' In radiant loveliness,* W. Stbrnoalb B«hnett.
Scena. Mr. Morley, and Chorus, ' See there/ (^Mountain Sylph,) John Babnbtt.
Concerto in E flat, MS. Pianoforte. Mr. W. S. Bennett. W. Stbrnoalb Bsnnbtt.
Faiiy Glee. Miss Land, Mr. J. K. Pyne, and Mr.Stretton, < Over

hiU, over dale,' T. Yourbs Ckubb.

Overture, MS. (Dramatic) J. R.ToTTOir.

ACT II.

Sinfonia in C minor, MS J. Hbnrt Gribsbach.

Trio. Mr. Allen, Mr. Pyne, and Mr. Stretton, * Qual Silenzio,* T. Attwood.

Aria. Mrs. Geesin, « Say, could I live,' (Jibi/n/am Sylph) . Jobw Barhbtt.

Solo, Violin. Mr. J. Banister, Blaqrovb.

Grand March '\

Chorus, * Sine, in joyous homage sinj?,* . I

Kecit. Mr. Wilson, < Princes and Warriors.' >MS. . J. Hbkry Gribsbach.
Air, * Raise the song,' . . . . ]
Chorus, * Sine, in joyous homage sing,' J

Overture in E flat, MS. G. A. Macfabrbn.

Each Piece will he conducted hy the Composer.

Leader, Mr. Damdo.

The Concert under the direction of Mr, Jaxbs Calkin.

Attwood's very melodious and ingenious anthem was performed
as a grateful and fit acknowledgment of the recently-bestowed
patronage of the king, and was tolerably well executed. His
lovely trio, ' Qual silenzio,* was most inhumanly slaughtered :
anything less creditable to the parties engaged we could not have
imagined. We reluctantly say that, of the new compositions,
only the concerto by young Bennett is entitled to praise. This
evinces real genius, a happy combination of invention and taste.
The middle movement deserves special mention; it is perfectly
original, and its effect is as remarkable as its novelty. In the
scena, the band so completely overwhelmed the singer that his
part was nearly all dumb-show. But why bring from the theatre,
where it has been so often performed, a composition (not the best
in the opera) which nearly everybody has heard ? And we ask
the same question concerning the very sweet aria (song) ' Say,
could I live.' Mr. Griesbach's symphony, only displeasing
,on account of its unreasonable length, is put together in a
musician-like manner. We cannot say much for it on the ground
of originality, and our praise of it must be altogether of a
negative kind. But here is a proof that one institution at least is
open for the reception of new compositions by British musicians ;
for, if we mistake not, this was performed last season at a Phil-
harmonic concert, therefore quite out of place here, because it
proved, so far as it went, that there was no necessity for the
establishment of the present Society. The same remark applies
to the two compositions by Mr. Attwood.

Having heard a very favourable account of a work by Mr.
Macfarren, performed at the first concert, we were somewhat dis-
appointed by his overture now produced. The rest of the pieces
we pass over in silence, as the most friendly course we can pursue.
Let us hope that we may be justified in giving a more favorable
account of the next and following concerts.

THE MUSICAL FESTIVAL OF THE LOWER RHINE,
At Aix-la-Chapelle, 18th and 19th of May, 1834.

(From the Revue Musieale.)

If residence in a capital is advantageous to artists, by keeping
Ihem in a state of continual rivalry, admitting of no sluggishness,
and incessantly reminding them that their talents must not be

allowed to slumber, or be suffered to be surpassed or misapplied*
it has, nevertheless, one great inconvenience — that of not giving
sufiicient time for the study of the speculative part of the art, which
is hardly ever cultivated on its own account, or for the pleasure it
affords. Like all necessities, this must be submitted to, but it ia
not the less to be deplored because inevitable.

There is some excuse for the brutality (I must be excused the
strength of the expression) into which the Parisian artists appear
to sink, after the years of hard study to which they are driven.
The difficulty they encounter on their first entrance into the
world, in obtaining, by their talents, an honest subsistence, and
the obligation they feel of scrupulously calculating the value of
time, compel them to consider Uieir talent as a commodity, the
gratuitous gift of which is injurious to them, and they are as nig-
gardly of it as the merchant is of his sugar or his rum. That
which at first arises out of necessity is often continued as an abuse:
what was compulsory soon becomes habit: economy of time
speedily leads to avarice; and the practice of the art shortly
degenerates into a trade. Were the artists of our Conservatoire,
and the distinguished aniateurs of our society, told, that there
was to be found in a very unimportant situation in Germany, four
hundred and seventy performers from thirty-six towns, of which
some were at a considerable distance, and that these four hundred
and seventy performers, having no other aim than to jperform
music for the sole pleasure it affords, had abandoned their occu-
pations for a week, and decamped, each carrying his instrument,
it would not be believed, or, if believed, the shoulders would be
shrugged in pity of the madmen, who knew so little how to watch
over their own interests. In small localities, so ill provided in
other things, it must be granted that their wants being incon-
siderable and easily satisfied, artists have less time to exercise
their profession and more to give to the culture of the art. If then,
on one side there is the chance of acquiring more expertness and
celebrity, there is, on the other, the preservation of a more
generous feeling, and a purer love of the art.

During the four months that the project of a Musical Festival
at Aix-la-Chapelle was under consideration, zealous and laborious
amateurs formed themselves into vocal parties in order to practise
HandeFs grand oratorio of Deborah. Grave and steady men
took from tneir hours of business, young and pretty women neg-
lected the duties of the toilette, and abandoned coquetry, to
contribute to the effect of a grand solemnity of art, in which they
had no other interest than the satisfaction of feeling that they were
accomplishing a holy task. Many winter evenings were toiled
through in laborious rehearsals; the oratorio prevailed over the
waltz; the church triumphed over the ball. At Aix-la-Chapelle,
and the environs of that charming city, no dinner parties were
heard of, no gambling; engagements only were made to rehearse
a hallelujah of Handel, or a chorus of Cherubini.

Mr. Ries, yielding to the pressing solicitations of the chief in-
habitants of the city of Charlemagne, undertook to preside at the
memorable meeting, and directed the whole. Every thing at once
gave way to the grand object — music. A committee, to manage
the details of this charming festival, was formed, selected
from among the most distinguished amateurs of the place. But
previously to entering into a particular account of the perform-
ances, it will be proper to state the number of persons engaged.

Mr. Ries, director, had at his disposal an orchestra, and vocal
mass, thus distributed : —

Sopranos .

. 81

Violins .

. 52

Hautboys .

. 5

riorns • •

• 8

Altos . •

. 80

Violas . .

. 15

Flutes . .

. 5

Trombones •

. 6

Tenors

. 86

Violoncellos

. 17

Bassoons

. 4

Trumpets •

. 4

Basses

. 95

Contrabasses

. 10
Total

Clarionets .
470.

. . 7

Timbrel

• 1

Performers furnished by thirty-six towiis> in the following pro-
portion : — ^Aix-la-Chapelle, 245 ; Cologne, 54 ; Dusseldor^ 38 ;
Doren, 25; Bonn, 6; Schleiden, 19 ; Eupen, 7; Geilenkirch, 7 ;
Burschied, 14; Creveld, 9; Verviers (Belgium), 5; Liege
(Belgium), 5; Wesel, 4; Berlin, 2; Frankfort, 4; Anvers
(Belgium), 2; Maestricht (Holland), 3; Elberfeld, 2; Neus,2;
Rotterdam (Holland), 2 ; Hagen, 2 ; Emmerich, 1 ; Coblentz, 1 ;
Mannheim, 1 ; Paderborn, 1 ; Bile (Switzerland), 1 ; Cleves, 1 ;
Detmold, 1 ; Arnheim, I ; Malmedi, I ; Viersen, 1 ; Gutten-
berg, 1 ; Moers, 1 ; Arnsberg, 1 ; Velvo, 1.

The Choruses were placed under the direction of M. Zimmers^
organist of the Cathedral of Aix-la-Chapelle,

Handel's Oratorio of Deborah, preceded by the Overture to
Don Carlos, by Mr. Ries, formed the program of the first day

J\. 3

lOS

THE MUSICAL LIBRARY.

«F die Festival. No one who was not present can fonn a just
kiea of the imposing effect produced by so fine an oratorio, thus
«Kfieuted by nearly 500 voices and instruments ; and if any one
Ksteoed, unmoved^ to sudi a performance, it must have been from
an entire destitution of sensibility.. A few criticisms were ven-
tured on the choice of the oratorio. Handel's style was by some
tfaougfat too old-fiishioned to become the principal feature of a
mstd festival of our days. This opinion^ which was only offered
by a small number of amateuTS, appeared to us very erroneous.
As regards dramatic musicy some think that the date of the work
ought to be considered in selecting for sacred performances, be-
cause the character of music essentially differing according to its
age, the taste of the public is not likely to be gratified in listening
to a style to which it is wholly unaccustomed. But the character
of sacred music is much less susceptible of change, and has, it
■aay be said, no fashion. With the exception of the scandalous
compositi(»is which preceded Palestrina, I do not believe that there
is a single note of sacred music which, in the present day, would
produce a ridiculous effect, at whatever period it may have been
composed. Nay, it may be averred, that ancient composers <^
flicred music were vastly superior to those of our time, inasmuch
as they preserved the religious character which is alone suitable
to the s^le of such composition. Deborah abounds in traits of

Snius of the highest character. All the choruses, and most of
e airs, have each some remarkable and peculiar feature. If
Seetboven, whom Handel's adversaries oppose to him, exhibits
greater resources of the instrumental kind, he falls far short of
the latter in simpUcity and deep expression.

The Choruses were executed with great precision and admi-
nUe energy, by the imposing mass of performers^ directed by
the superior ability of Mr. Ries. The Solos were not, in general,
80 satisfactory. In order that the difference of instrumentation in
HandeFs time should not annoy the ears of modem composers,
Mr. Hillier was requested to add wind instruments to several
pieces which had none, as well as to those which had some, but
which are now weak in efiect. He acquitted himself of this diffi-
cult task with much talent; the additional parts blended well with
the original ones, and the intention of the composer was so scru-
pulously respected, that, thus arranged, the whole appeared as if
tcom the same pen. I confess that I should have preferred the
oratorio as simply written by Handel, because, not only the general
efiect, but a certain kind of historical interest is to be considered.
This feeling, however, does not diminish the merits of Mr. Hillier,
in a work announcing equally a knowledge of Handel's style, and of
orchestral effect, we know also that the addition of these instru-
ments to the original score is favourable to Handel's reputation,
inasmuch as his composition is thus adapted to the taste and
feeling of a great number of persons. Mr. Ries's overture, which
preceded Deborah, is a fine composition, well conceived, and scored
in a remarkable manner. The symphony in C of Mozart, a frag-
ment of the Requiem of Cherubiui, the first movement of the sym-
phony with Choruses of Beethoven, and several pieces of Pr.
Sehneider, were performed on the second day. What a powerful
cenius is exhibited in the symphony of Mozart, composed when
£e was only twenty-three! What inexpressible charms in the
adagio; and with what exquisite tact the admirable fugue in the
last movement is managed ! Some persons, I am aware, hold
that Mozart is not to be compared to Beethoven in symphonies :
such persons have only a sort of conventional feeling.
, The fragment of Cherubini's Requiem, which was converted into
a hymn, is of a lovely character, and in the pure and n6ble style
that, distinguishes all this composer's works. The choruses, as
in the oratorio, were admirable for their vigour and ensemble.
The first and the two last choruses of Schneider'*s oratorio are
very beautiful, but the solos and other pieces produce less effect.
M. Schneider appears to be perfectly capable of producing good
compositions, but does not seem to attach sufficient importance to
his melodies, which are not always recherchees. His instrumen-
tation is rich in effect. The orchestra, in this piece, as also in
the two symphonies, merited great praise ; above all, they exe-
cuted the fugue of Mozart's symphony with an extraordinary
decree of exactness and enthusiasm.

Mr. Ries, after the last performance, received marks of honour
and acknowledgments which were amply his due, for it was not
possible to unite more patience and zeal with more talent. When
one considers the enormous difficulties attendant on the organi-
sation of such a musical festival, and the having to execute with
amateurs collected from so wide a space, such a quantity of music^

one can scal^ely believe how it was possiUe to arrive at so mU
mirable a result* The day succeeding the last performance a
cavalcad^ of honour accompanied Mr. Kies in a drive to Mount
Luisberg : more than one hundred and fifty carriages followed,
and formed a brilliant and varied coup^iPwil. The Festival ter*
minated by a ball, given to the lady-amateurs who had performed
with so much talent in the choruses. In France it is very little
known how such a Festival is patronized by a whole city— nothing
was omitted in that at Aix-ia-Chapelle. The Burgomaster, a
man of sense and taste, assisted by a conunittee formed principally
of the leading inhabitants, regulated the program in the most
judicious manner; and among the number of strangers brought
together, I did not meet with one who spoke of the Festival in
any terms but those of praise.

FOREIGN MUSICAL FESTIVALS.
At Freiburg a festival took place on the 6th and 7th of August ; the
performances, which were executed by between 400 and 500 musicians,
being conducted by seven dififerent composers, at the head of whom was
M. Cantor Siegert^ firom Breslau. The priacipal oonspositions were by
B. Klein, Schicht, Rtchter, &c. At the conclusion of the performance
the town regaled the assembled artists and dilettanti with a graDd dinner.

At the Vocal Festival at Jena, on the 14th of August, the s^ecti<m
comprised an Oratorio by L6we, Die Eheme Seklange (The Brazen
Serpent), and variouB hymns and other sublime compositions by Bemer,
A. F. Httser, Fink, Naue, and B> Klein.

At Stottbrnheim, near Erfurt, there was a grand meeting on the
27th of August of the members of the Vocal Society, established by
several schoolmasters of the dioceses of Grossrudestedt and Undestedt,
to celebrate the anniversary of its foundation. The performances,
which were highly satisfactory, were conducted by M. Andreft.

At ScHNEEBERG, also, and at Neustadt, in Weimar, there have been
music meetings. At the former the most prominent features were some
compositions of the conductor, M. Cantor Anacker, namely, a cantata,
the overture to G^z von BerliMngefL, and Der Bergmannsgnus (The
Minet^s Greeting). At the latter, the Vocal Society, assisted by several
vocalists and musicians who had been engaged in the Jena Festival, gave
Mozart's Requiem, the Hundredth Psalm by Hande], and the Hallelujah
from the Creation by Kunze with great eflfect.

ENGLISH WORDS TO THE -CREATION.*
To the Editor of the Musical Library,

Sir, — I regret not having made an earlier acquaintance with your
very excellent work, so unprecedentedly advantageous to the purchaser.
The Muiical Library, It was above a month after the Abbey Festival
that your account of it was put into my hands. In the midst of your
many judicious remarks and critiques, musical and otherwise, my attenr*
tion was arrested by your censure of the glaring literary defects of the
English words to the oratorio of The Creation^ wnichhave, in timepast^
cost me much solicitude, but on which, finding it a hopeless case, I had
long ceased to bestow any notice, except in this town, where it has been
my fate, for some time past, to sojourn, and during which there have
occurred two musical festivals — ^namely, those of 1830 and 1838; in
each of which the first act of The Creation has formed a part

In your paragraph censuring the words as they yet remained in use,
as ' ludicrous and vulgar,' you have spoken of * alterations from time to
time,' from which I apprehend you are yet a stranger to the fact of a
general adjustment of the whole having been, many years ago, poblishedy
and in some few — ^very few — instances, in the course of those years,
adopted, though now, I suspect, entirely laid aside. I am indeed sur-
prised to learn from your paragraph of any alterations at all being in
present use, as I thought the entire of the original version had been re*
sumed and strictly adhered to.

I recollect, when I had accomplished this little task, which I imposed
on myself in the genuine regret to hear the beautiful, sometimes sublime
passages, abounding in that great work, prostituted to so strange a jar*
gon, — I found in the singers of that day, on submitting my adjustment
to them, a professed readiness, indeed desire, to adopt Uie change ; bat,
upon trial, Mr. Bartleman and, I think, Mr. Vaughan, were Uie only
persons who acted according to their professions. Whether caprice or
idleness in the singers, or want of taste, or cabal operated with directors
and conductors, I cannot tell ; but the altered version was altogether
slighted : though Mr. Greatorex distinctly thanked me, not only for the
alterations in the words, but also fur the restoration of the c, or ordl*
nary tenor-clef for the tenor part in the choruses, instead of the base-clef.

On thanking Mr. Bartleman for adopting the alterations, he replied,
very bluntly, but, as I thought, very sensibly, ^ Why thank me for pre-
ferring to sing sense to nonsense ?'

If you have access to the early volumes of The Harmoraeonj and will
tHm to No. 38 of the first series, you will find inserted a few of the
changes introduced, by way of exemplification.

THB MUSICAL LIBRARY.

108

I bave also, in order to exUbit tlie mveteracy with which the old jav*
gon is. maintained, desired to be left for your perusal a copy of the
nummary of the festival held here last year, including a critique on the
music, which I furnished to one of die journals of the town (Mercury),
and at the conclusion of which (page 9) yoo will find that not only this
peryerse continuation of these barbarisms is there attacked, but that it
had been three years before at the festival in 1830. The whole of these
remonstrances and strictures, however, are passed by tub nleniio^ with
ihe most magnanimous contempt imaginable by the managing body^
whether committees or conductors, &c

If, Sir, you are conscious of any influence in such matters — ^and it is
fair to conclude that a gentleman, intrusted with the important notice of
the late peat festival m the Abbey, must possess no small share — you
will certamly mark your respect for the memory of our beloved Haydn,
and deserve well of the yotaries of his divine art, by employing that in-
fluence in aiming to disunite such strains as those of The Creation from
tte base association to which the sluggishness, the apathy, or the igno-
rance of conductors have ever condemned them ; and you yourself, Sirt
would, I am persuaded, under a more rational alliance, discover beauties
in the second and third acts, which have never occurred to you. As*
Buredly, however, the first act has the most of sublimity to boast

Allow me now to mention a little inaccuracy or two in your short bio-
^graphical notice of my late father. He never served his ' term out'
to ue cabinet*makinff trade, which he found so little to his taste that
he quitted it after no long experiment.

The Glee or Ode to Melancholy, * Hence, all ye vain delights,' was
never, as stated, a candidate for the Catch Club prize ; it was composed
at the request of Sir W. W. Wynn (father of the present baronet), ex-
pressly for the two ladies named in your second page of the same Num-
ber, Mrs. Sheridan and Mrs. Tickell, daughters of Thomas Linley ; who,
with Mrs. Jane Bates, were the most enchanting singer^ of that day.
• To the Old Long Life^ &c.,' is by no means the * one* only catch
which * still maintains its ground:' Uiere are * Would you know my
Celiacs charms' and * The news is bad;' this last not quite so much sung
as the other two, but scarcely less esteemed.

I remain, yours, &c. &c.

Liverpool, Oct 29thj 1834. S. Webbe.

REVIEW.

The Mountain Stlph, a Romantic Grand Opera, performed at the

English Opera House ; written by T. J. TuACKBRiLT, Esq. ; composed

by John Barneit. (Hawes.)

In our October number we spoke in general terms of this opera, our
<^nion having been formed after twice hearing it We now shall state
how far that opinion is confirmed or modified by an examination of each
piece in its arranged and published state.

The introduction, ^ Hush ! hush i' a chorus of sylphs, is a calm
lovely andantino, in sb, for three sopranos, in which is a solo for the
upper voice, * Child of the air,' a melody less remarkable than its well-
4Sontrived accompaniment. The first line of this, however, is very erro-
jieousiy accented ; and when we arrive at the end of the printed copy,
it appears to be a ' conclusion in which nothing is concluded :' a couple
qf bars ought to have been added, to be used when the next air, into
which it passes, is not sung. The style of this reminds us of part of
Weber's Oberon; but only the style, for we trace in it nothing that can
Justly be called a borrowed passage.

The air * 'Twas no deceptive spell,* may be considered a part of the
preceding, though not necessarily belonging to it off the stage. The
subject is graceful, not hackneyed, and the words are expressed correctly
and with feeling.

The Bridal Song, as it is called, though in &ct a chorus in two parts,
for female voices, * See, here we bring,' is a perfect thing of its kmd —
dramatic, ingenious, pleasing, and original. In the latter part of this a
Scotish air, in e minor, is introduced as a symphony, and then becomes
an accompaniment to a duet on quite a different subject, in a major.
This is so clever, and at the same time so effective, that we know not
whether to praise the composer most for his skill or his taste*

* Yes ! time will show,' a hiriily^wrought trio, proves how successfully
Mr. Bamett has studied in 3ie school of Mozart. He certainly has
liere profited, not unfairly, by what he had heard, and made good use of
.his reminiscences ; a more spirited composition we have rardy, if ever,
opened. A fug^to towards tbe end, at the words ' Let him begone,' is
masterly, but not intended as any display of what is called musical
•cience ; the author wrote it because he calculated that it would produce
effect, and has succeeded to the utmost extent of his hopes, unless they
were prodigiously unreasonable.

The air < Poor Jessie !' is an expressive melody, but the accompani-
ment is occasionally tremandOf k la Weber, and then proyes injurious to
ihe general effect of the song. We can enter into the composer's
views ; but Donald is not vested with supernatural powers, therefore it
.was neither necessary nor proper to accompany his call by incantation
muflic.

' Deep in a forest dell,' is a sweet air, such as, we can ima^ne^
Puroell would write, were he now among us. It is no less a drawing**
room than a stage song — easy and of moderate compass.

A ballad, * Break, break my heart ! ' in a flat, led us to think that we
had taken up Paisiello's * Gli affetti miei ;' but the likeness is confined
to the first bar. The air is tendw and agreeable, and as well adapted to
amateurs as the preceding.

We now come to that which is, we suppose, the hero's cheval dt
haiaille^ * Man's misfortune glads my soui,' denominated a scenes
though, as part of an English opera, we do not understand why the
word might not have been rendered in English. But this matters not
much ; whether scena or scene, it is a fine composition — ^bold, vigorous,
and characteristic.

' Canst thou love, yet coldly fly me ? ' is another yery pretty ballad.
The subject is elegant, the accompaniment easy, and altogether it ia
within the means of every singer.

A duet, * Farewell, for ever,' calls for no remark.

*Thou art not he,' is a ballad, more pleasing than new, in the Scotirii
style, and free from everything in the shape of difficulty.

The air,*Farewe]l tothe mountain,'is the most popuUr piece in the opem.
It undoubtedly resembles more than one melody well known to us, and
probably the composer found some of it floating in his memory, without
suspecting that it had an owner ; nevertheless, the whole is so happily
managed, the effect is so delightful, that it has all the charms of novelty
blended with those which ever are found in early and not painful recol-
lections. Our copy is marked • second edition.' We believe it to be
such, and shall be surprised if it does not reach two or three more.

• This magic-wove scarf,' a trio for soprano, tAior, and base, is a work
of extraordinary merit. Originality is its attribute till nearly the end,
and to this rare quality is added all that a knowledge of musical effect
could supply. But the concluding page is so undeniable a quotation
from the latter part of * Protegga il giusto ciel,' the terzetto in Don Gio-
vanni, that in candour the author should have marked it with inverted
commas.

We now would willingly find epithets to express our opinion of another
air of the simple kind, ' Say, could I live,' but have exhausted our store,
and must be content to say, that in this the accomplished harmonist ax|d
graceful melodist are combined. Wherever ' Farewell to the mountain '
is found, this ought to be its companion.

Extremes meet. We now immediately pass from what is little less
than divine, to that which is intended to be diabolical — * The Devil's
Bacchanalian Glee' — for so it is called. The composer, as well as
publisher, have shown some courage in sending it forth under such a
title. Were Mr. Colman censor of the musical press, as well as
Licenser of Plays, he would certainly order every copy of this to be
burnt, and the pewter plates to be melted at the fire, perhaps, that was
kindled and is kept up by the awful person in whose honour this infernal
hymn is chanted.

A strong imagination and great ability are displayed in the duet
« Some magic her sense steals away.' There is not a better-con-
ceived, truly dramatic composition, in the opera. But it is only calcu-
lated for the stage, and will not, ought not, to be sung without scenic
aid.

The trio * What visions of brightness,' the last published piece, brings
once more the divine Mozart to our recollection ; the beginning of the
subject is his exquisitely gay melody • E Amore un ladroncello,' with-
out the mark of quotation.

It will be perceived that our opinion is exceedingly favourable to this
opera. We were highly pleased with it on the stage, and our admira-
tion of it is still greater after deliberately examining it in print There
is more in The Mountain Sylph than enough to make three approved
modem Italian operas — such operas, we mean to say, as Bellini's, Boni.
zetti*s, &c. ; — ^but the world of fashion will differ from us on this point,
and Mr. Bamett must at present trust for support to the middle ranks.

The present work is an answer to those who say that new English
operas cannot now succeed, even in English theatres. Its success has
been remarkable ; and the same would have attended other works which
failed, had they possessed anything like the merit of that which gratified
us so much in representation, and has now afforded us such unusual
ure in reviewing.

MoacEAUX cAaACTEaisTiQUEs et Brillants des Pianistes Us plu$

celebres, — (Cramer, Addison, and Beale.)
No. 1. Allegro Militairb, compose par J. N. Hummel, Op. 114.
No. 2. Rondeau Espaonol, compose par J. B. Cramer, Op. 70.
M. Hummbl's Military Allegro, as it is called, is the just medium be-
tween that extreme difficulty which most people are too wise to waste
time on, and that degree of ease which sometimes implies insipidity.
It is in c, and written on two subjects ; the first bold and brilliant, the
second gentle and expressive. His amplifications of these are all in good
keeping, the passages showy, but so well adapted to the hand, that to a
moderately good player they will cost very little practice. The modula-
Uons are few, and not recherch^eSy but quite sufficient to afford the re-
quired relief. The principal feature in this is melody, which flows through

104

THE MUSICAL LIBRARY.

tlie whole piece, and, together with the other merits pointed out, renders
it one of the most agreeable compositions by this author that ever came
under our notice.

We are glad to observe that M. Hummel perseveres in indicating the
movement by the metronomic mark.

Mr. Cramer's Spanish Rondo is the last movement of a composition
which he has often performed at the Philharmonic and his own concerts.
The following few bars of the subject will revive in the memory of many
of our readers the great pleasure they have enjoyed in hearing it touched
by his hands.

There is a second motivo, first in the key of f, afterwards in d major,
a graceful air, not unallied to the principal subject, and both are worked
and varied in a manner no less pleasing than skilful. As this was written
for the author's own playing, it is needless to add that it requires an
able performer to do it any justice. But Mr. Cramer never writes diffi-
culties for difficulty's sake, or to show that he himself has acquired a
dexterity no better than sleight-of-hand ; therefore all that he publishes
may be at least attempted by sensible people, being good players.

DoNizETxrs air, * Vivi tu, te ne scongiuro,' in Anna Bolena, arranged
for the Pianoforte by F. A. Rawlings. (Chappell.)
This is, past all doubt, the best, if not the only meritorious air in
Anna Bolena, and Mr. Rawlings has turned it to good account, as a
piano-forte piece. In all his arrangements this gentleman shows very
considerable ability, and a clear perception of what is most likely to be
in demand in the music market. "While this is easy, it is not below the
dignity of superior players : it will be understood, and please those —
forming the great majority of hearers — who could not enter into the
merits of learned and elaborate works, and would be too wise to listen
to the vagaries of one or two composers who shall now be nameless.
The introduction, consisting of a short page, is brilliant, and the whole
together will agreeably occupy about four minutes in performing.

Beethoven's Works, edited by J. Moscheles : a complete edition,

(Cramer and Co.)
No. 1. Son ATE Fathetique, Op. 13.
No. 2. Grand Sonata, Op. 26.

We rejoice to see announced, and begun, a complete edition of the
piano-forte works of this great master, to be published under the direction
of one in every way so qualiGed for the task as Mr. Moscheles. The pre-
sent Numbers contain two of the finest of Beethoven's compositions. In
the Sonate PathHique is that exquisite adagio, in a flat, from which, it
has always appeared to us, Woelfl imitated his Calm ; and in the Grand
Sonata is the sublime Marcia Fitnebre, in a flat minor. Indeed, there is
not a bar in the whole of Op. 26 that is not precious.

Mr. Moscheles has rendered a most important service to the musical
world by fixing the times^q, d. the quickness or slowness — of each
movement by the metronome. That this practice is not always adopted
excites both our surprise and regret. We can understand why narrow-

minded persons should object to any assistance being rendered to
amateurs, except through the medium of lessons ; but when professors,
distinguished equally by their liberality and talents, oppose, or at least do
not adopt, so scientific, ' so obvious a mode of rendering certain that
which must otlienvise be vague,' we are at a loss to account for their
motives. Resistance, however, cannot be long continued : in very few
years a publication will be deemed as imperfect, if the times are not indi-
cated by some sort of pendulum, as if the clefs, with the sharps and
flats, were omitted.

EXTRACTS FROM THE JOURNAL OF A MUSICAL
AMATEUR.

Oct 1. — A very singular musical instrument has lately been invented
by a mechanic at Vienna. It is called hphonomine, and considered by
connoisseurs to be the most remarkable thing of the kind that has ever
been produced. In appearance it resembles an organ ; but the inventor
has contrived, by means of pipes on a new construction, and of machinery,
to produce from it the sound of a chorus of male voices. The human
voice is stated to be admirably imitated by this instrument ; and a per-
son unapprized of its nature could not distinguish the difference between
its tones and those of the human organ. Three of these instruments
were tried at the house of a dilettante of Vienna, and in a room adjoining
was a large company of musical composers and others, who believed
that they heard a chorus of men, and agreed in admiring the beauty
and correct intonation of the supposed voices.

6th. — The Augsburg Gazette states ' that a short time ago, during a
rehearsal at the Teatro San Carlo, at Naples, of a new opera by Doni-
zetti, a dispute arose between the two pri ma-donnas, Ronzi di Begnis
and Delsere, which became so serious that they attacked each other like
furies, tearing the hair from each other's heads ; and Madame Delsere
suffered so much, that she was obliged to keep her bed for several days.'

I am not at all surprised at this. A scene of a very extraordinary
kind took place a few years ago at the King's Theatre, in which one of
the above-mentioned combatants and a rival prima-donna were engaged,
and the parties were only prevented from proceeding to blows by the
personal mterposition of the director.

ISth, — ^The taste for music diffused among the lower orders was very
conspicuously displayed at Birmingham during the Festival just con-
cluded. Wliile the performances were proceeding in the Town-Hall,
the windows being open, the choruses were nearly as well heard in the
streets as in the room. Advantage of this was taken by those who had
no chance of admission where nothing less than gold procured a ticket.
Crowds collected on the three sides of the building, as well as in a spacious
adjoining church-yard, for no other purpose than that of listening to the
music ; and it was observed that most of the people were stationary
from the beginning to the end of the performance, preserving a silence
and decorum not exceeded by the company within. The conduct of
the operatives, generally, during the whole week, was particularly re-
marked by all the visiters, who were struck by the decency, the civility,
of a population which, in former days, often manifested a spirit of a
kind widely differing from that so creditably exhibited on this occasion.

When the music-porters were conveying that stupendous instrument,
the double-base ophicleide, into the Town-hall at Birmingham, an ope-
rative, who had attentively observed it, and made a pretty accurate estimate

of its dimensions, exclaimed most characteristically, ' By ! the man

who blows that must have a forge-bellows in his wind-chest, or he '11
make nothing on 't ! '

I6th, — ^The gentlemen of the county of York have resolved that a
musical festival, on a scale the grandeur of which has never yet been
equalled, shall take place in the Minster next September. Dr. Camidge,
organist of York Cathedral, who had received instructions to this effect,
was at the Birmingham meeting, and there commenced his operations,
by conditionally engaging all the performers of any celebrity then
assembled in that town.

Nov, Ath. — Mrs. Trollope, the tourist, who has just published an
account of her journey into Belgium and part of Germany, was much
struck, as every body is, by the state and prevalence of music in the
latter country. The subjoined extracts from her two volumes are inter-
esting to the amateur, and not unworthy the notice of statesmen. An
art that may almost be said to banish inebriety, demands every sort of
encouragement and attention from an enlightened government.

Mrs. T., it will be remarked, writes more like a lover of music than a
proficient in the science.

< That peculiar national characteristic of Germany, a love of music,
with the almost universal advantages of voice and ear, are strongly
manifested at Cologne. At our table d' hdte we had a violin concerto,
which many a London soiree would have gladly welcomed ; and the
mere accidental warblings in the street, which reached me through my

THE MUSICAL LIBRARY.

105

chamber windows, were of a tone and cadence very unlike any sounds I
had been accustomed so to hear.' (i. 143.)

* The musical reputation of Bonn is considerable ; it boasts Beethoven
among its 6leves ; and during the reign and residence of the last elector
some of the first performers of the age made it their head-quarters.
Perhaps it was this reputation, though belonging rather to the past than
to tl)€ present times, which induced us to give three hours of a lovely
summer's evening to a public concert, given by a Madame Milden.
The sacrifice, for such I certainly felt it, was, however, not in vain, the
whok scene being new and amusing. The apartment used for this
occasion was the ball room, about one-fourth of which was occupied by
the orchestra ; but without any other line of division than a clear space
between the last bench occupied by the company and the first music-
stands. We were told that there were between three and four hundred
people present' (i. 146.)

* As we mounted the zig-zag terraces of the vine-covered hill, on
which a fine ruin stands, the notes of a duet of Mozart's, most delici-
ously sung, reached us by snatches from two young men, who came
bounding down the declivity towards us. They politely stood aside, and
ceased their song as we passed. I would rather have been rudely jostled
Lad they but continued it. But we stopped to listen, after they had
^ssed the next turning ; and again we heard their rich young voices,
bke the music of Ariel, floating about us.*

' It is difficult to give an idea of the sort of magical effect produced
by hearing sounds so sweet, and so perfect in their artist-like harmony,
from among trees and rocks and desert wildernesses. Often as this
happened, during our journey, I never ceased to experience from it all
the delight produced by pleasure when completely unexpected.' (i.
195, 6.)

* In the evening we went to the opera, and were kindly admitted to
Mrs. K.*8 box. The performance was the Bestalin [VestaliTi] of Spon-
tini. It is a delightful opera, and was most gloriously performed.
The choruses have an effect, at least when performed by Germans,
which I am at a loss how to describe : they are sounds of feeling, of
passion, and of eloquence. The indignation I have experienced from
seeing the plays of Shakspeare turned into operas would have been
spared, I think, had I heard them performed here. Never was music so
lawfully " married to immortal verse" as in this country. Mademoiselle
Gned, who played the part of Jidia, has a voice of great power ; but as
yet it seems almost more than she can manage. She has great merit
also as an actress, and showed much animation and feeling ; but she
should study the perfect harmony of Pasta's movements. It is no
trifling addition to the pleasure of an opera when we^can say of the
prima-donna —

" Where'er the turns the Graces homage pay ;"

and, as a lady's raised [arms must either ** float upon the air," or pierce
through it, it is well worth some study to acquire the power of choosing
which it shall be. Mademoiselle Gned is, however, a young actress of
great promise, and two or three years will probably bring her into
general notice.'

' How delightful it is to come away from such an entertainment as
this with the spirits perfectly fresh and unwearied ! Instead of dragging
to bed, with the head aching, the heart asleep, and the imagination
utterly extinguished, we leave the theatres of Germany exactly in a state
to feel or fancy ourselves above all mortal cares and discomforts. And
I think, the evening parties which succeed them must see the very bes
of our social faculties in activity.* (i. 234.)

* ■; The sober truth is, that such a sufiicient knowledge of

music, as enables them to play on some instrument or other, is universal
among the peasants of Germany. And we need not, therefore, have
recourse to any supernatural agency to account for the fact, that music is
often heard amongst them where it might be least expected.' (ii. 199).

18th. — ^The lessees of the Thedire Ilalien, in Paris, MM. Severini and
Robert, were inclined to engage the King's Theatre for the ensuing
season. The first of these gentlemen, therefore, came to London to
make the necessary inquiries and propose terms. The following para-
graph, inserted in Galignani's Messenger^ from authority, shows the
result of the negotiation . — * M. Severini has returned from London,
where he found the affairs of the King's Theatre in so embarrassed a
state, that he has decided with his partner, M. Robert, to decline the
preference which was accorded to them by the assignees over the other
candidates for the lease. The retirement of these gentlemen augurs ill
for the prospecte of that establishment ; it is to be regretted equally for
the sake of the artistes, the public, and the theatre, that they were
obliged in prudence to relinquish their contemplated arrangements.'
The fact is, that the assignees of Messrs. Chambers stipulated for
covenants in the lease of the theatre, to which it was impossible the
above gentlemen should accede; such as naming the treasurer, the
treasurer's clerk, with large salaries ; a right to inspect the books ; a

right of entry, &c. &c. ; all proper enough in the case of a suspicious
lessee, but not to be listened to by a party so responsible and respectable
as that which now offered to treat for the theatre. Why do not the
creditors of Messrs. Chambers meet, and take at least ihat important
part of the bankrupts' estate, the King's Theatre, out of such hands as
those that at present hold it ?

NECROLOGY,

Within the space of three months, death has deprived the musical world
of two of its brightest ornaments — MM. Choron and Boieldieu ; and
one of its distinguished professors — Signor Spagnoletti. — (The Memoir
of M. Choron we are obliged, from want of room, to postpone till next
month.)

AoRiEN Francois Boieloibu was born at Rouen, in December, 1775.
His parents were in humble circumstances, and could ill afford to give
their son the education which the decidedly literary bent of his mind
seemed to demand. He struggled through many difficulties, and his
sensibility and good taste soon procured him friends.

It was an organist in his native town, named Broche, who first initiated
Boieldieu in the art which he has since so much honoured. He made
rapid progress, but found little favour in the eyes of his master, M.
Broche, who, being much addicted to ebriety, considered inebriation
necessary to a musical education. Boieldieu was the only one of his
pupils who did not seem anxious to follow his example or precept
touching the above-mentioned necessary accompaniment, and was pro-
nounced to be fit for nothing but blowing the bellows, although the
world gave him credit for playing as well as his master.

Boieldieu was scarcely eighteen years of age when he wrote an opera
in one act. It was brought out at the theatre of Rouen, and proved
successful beyond all expectation. Representation succeeded repre-
sentation, all Normandy crowded to see it, and the popularity of Boiel-
dieu was, to all appearance, established. M. Broche now remembered
that he had predicted the greatness of his pupil from the first time he
saw him.

Shortly after this, Boieldieu went to Paris, determined to submit his
maiden production to the judgment of severer critics than those of his
native town. He was particularly recommended to Cherubini, Mehul,
Kreutzer, and Jadin, who were the" acknowledged judges of the day.
They invited the young artist to one of their weekly dinners, and con-
sented to pronounce judgment on his performance as a piano-forte
player. He arrived at the house with] a beating heart, agitated alter-
nately by hope and fear ; he found himself in the presence of the dread
critics who held his fate in their hands. He was requested to take his
place at the instrument : —he moved across the room more dead than
alive, and with a shaking hand touched the notes. He performed in his
best style, but the judges would not smile : they declared that the false
notes were innumerable. During dinner no one referred to what had
passed.

Little did those umpires think that he whom they had treated almost
with disdain, would die, in 1834, covered with glory, and regretted by
the civilized world : — ^that under the sublime cupola of the Invalides
10,000 people would pass round his bier, anxious to pay the last
tribute of respect to the mortal remains of him who had afforded them
so much pleasure — who had delighted half the civilized people in Europe.

Boieldieu knocked in vain at the doors of the Paris theatres for some
time after his ungracious condemnation by the four favourites of the day.
In despair he folded up his manuscript, and began to consider how he
should provide against the crisis of destitution fast approaching. His
hour was not yet come, but it did come — and come it will to every man
of sensibility and talent, who possesses health, perseverance, and patience.
He procur^ an introduction to the saloons of M. Erard, where he met
some men of letters, who gave him the words of a number of romances,
and he found Garat there, who was kind enough to sing them. These
romances had an unheard-of success ; every one was in raptures with
the music, and the composer was sought by all people of taste and
fashion.

Immediately after these romances, Boieldieu published a number of
concertos, waltzes, marches, duos, &c., for the piano, harp, and violin,
which were received with equal favour by the public. At this time Garat,
by choosing him for his accompanist, contributed much to bring him
into notice.

Boieldieu now found himself in easy circumstances ; fortune smiled
on him, and he summoned up sufficient courage to undertake the com-
position of an opera in three acts, called Zoraime and Zulnare^ which
did not succeed. This new misfortune did not discourage the young
composer. He had the means of subsistence secured to him, and he
determined to push his fortune. In 1797, he commenced his career of
triumph. His productions followed each other in rapid succession. La
FamiUe Suisse, and Monireuil et FerviUe appeared in the same year ;
they were succeeded by Zoraime and ZiUnare, which proved successful
this time. La Dot de Suzetle^ Les Mepriaes ExpagnoleSj Le CcUife de
Bagdad, and Benioioski, were represented, for the first time, in 1800.
At the same period, the National Convention passed a decree establishing

106

THE MUSICAL LIBRARY.

Uie Conurvatoire de Musiqiu ; the number of pupih was fixed at IKK),
and the profetsors at 115. Boieldiett was appointed one of the profes-
sors. Zimmerman and the two Chamcourtois were his pupils.

Boieldieu married a damewe of the Opera, named Clotilde, and the
union proving unhappy, he accepted an offer of the Emperor Alexander
to make him director of the choir at the Imperial chapel at St. Peters-
burgh. During his long stay in Russia, he composed a number of
operas and pieces of music, amongst others TSlemaque, which is con-
sidered his chef'd^ceuvre. He returned to Paris in 1811, and political
events obliged him to remain there. He made several attempts to get
his wife divorced, but could not succeed. Napoleon was angry with
Boieldieu for some reason or other, and it was to him that his want of
success was attributed. After his return to France, his productions ap-
peared as rapidly as before. La Dame Blanche must be familiar to
every one. The composer had attained his fiftieth year when it ap-
peared. This opera has made the circuit of both hemispheres, and the
music continues to be as much sought afler as in the days it was first
published. Such was the height to which his reputation rose, that a
medal was struck at Rouen in honour of him.

Some time before his decease, the great composer had been complain-
ing, and was not able to undertake any work of consequence. He was
obliged to relinquish an opera which he meant as his farewell to the
world. For many months he had been confined to his room, and after
long and painful sufferings, he expired at his house at Jarey on the 10th
of October, surrounded by sorrowing relations and friends. It is re-
ported that a monument will be raised to his memory by subscription ;
the French public cannot better employ their money.

The funeral of M. Boieldieu was a public and imposing ceremony.
The procession left the house of the deceased at half-past eleven o'clock.
It was opened by the band of one of the legions of the National Guards.
The way was lined by detachments of National Guards and troops. Two
swords crossed, the insignia of the Legion of Honour, and the epau-
lettes of the deceased as a Chasseur of the National Guard, were
placed upon the coffin. The pall was borne by a member of each of
the sections of the Institute. After the family came twelve members
of the Institute, representatives of the Opt^ra Comique, the Conservatoire
de Musique, and the Grand Opt^ra ; numerous composers ; and, finally,
the friends of the deceased. Among the composers were Lesueur, Che-
rubini, Auber, Paer, Meyerbeer, Rossini, Caraffa, Adam, Halevy, Pan-
seron, Desprt^aux, and Gide. The assembled performers comprised
Nourrit, Lablache, Martin, Ponchard, Lemonnier, Levasseur, Paul,
Genot, Samson, Firmin, Menjaud, and Vemet. There were also
Messrs. Pradier and the two Dantons, sculptors, and a great many
journalists and men of letters. The whole of the line through which
the procession passed was completely thronged, and yet the most re-
spectful silence was observed. The church of the Invalides was in great
part already filled by persons who had obtained tickets ; and on the
entry of the procession there was a momentary agitation, but the most
solemn stillness immediately succeeded, and the singers of the Grand
Opt^ra and the Opc^ra Comique chanted Cherubini's most admirable
mass for the dead. The whole service, heightened by the sound pro-
duced from the vaulted space of the chapel, had a prodigiously fine effect,
an^ showed all the power and genius or the composer, and the grandeur
and beauty of sacred music. The vocal choir was directed by M. Kuhn,
the orchestra by M. Habeneck, and the first violin was in the masterly
hands of M. Baillot. Singers of all ages joined in this musical solem-
nity. Tlie last piece was a moiety without any accompaniment, ar-
ranged from the air of the Chevalien de la Fidelite^ as a final homage
to the genius of Boieldieu. At two o'clock the service finished, and the
procession left the Invalides, resuming its slow and solemn march to the
cemetery of Pere la Chaise. — GalignanVs Mesienger.

A French journal (says the Revue Musicale) most incorrectly states^
that Boieldieu last year solicited a situation as sub-librarian, and that his
application, backed by his friends, proved useless. The facts are these :
This great composer, on his return from Italy, having received proofs of
a disposition to serve him from the minister of the interior, requested an
audience to express his thanks. During the interview that followed, the
minister made himself acquainted with Boieldieu's circumstances, pro-
mised to ameliorate them, and soon applied to the minister of public
instruction, with a view to obtain for his protege, not a situation as sub-
librarian, but as principal royal librarian. The rules of that establish-
ment were opposed to it. M. Thiers then appointed the author of La
Dame Blanche professor of compositipn to the Conservatoire de
Musique, though a class long before suppressed. In addition to this
place, which was worth 8000 francs, he granted a pension to the same
amount from the funds of the Beaux- ArU, Boieldieu thus received from
the minister of the interior 6000 francs annually. It is true that in
dealing thus, llie administration only paid the debt of France. The
least that could be said was, to allow this, or at least not to report the
contrary. Boieldieu was more just : those who saw him in the latter
months of his life well know how grateful he was for the active kindness
of M. Thiers.

The minister of the interior subscribed 1000 francs to the monument
which is to be erected to Boieldieu, and has purchased a bust of this
celebrated man, by Danton, at the price of 2000 francs. This specimen

of art is destined for the Institute. The same liberal, high-minded
minister has also just granted a pension of 1200 firancs to M. Adrien
Boieldieu, the composer's son.

PiBTRo SPAGNOLETri was bom at Cremona, about the year 1768,
and there received bis musical education ; but not finding sufficient
encouragement in a city, which has, unquestionably, produced the
finest violins, though it has never been able to support the best
players on them, he quitted it when young, and visited all the prin*
cipal towns in It^y, according to the custom of foreign musical artists,
giring concerts in each, and thus obtained a resnectable income. At
Milan, the encouragement he met with determined him to remain a very
considerable time in that place. He then went to Genoa, where fox
some time he was actively engaged ; and thence proceeded to Naples.
In that city his talents were first appreciated as they really deserved, and
by all the connoisseurs he was admitted to be one of the ablest violinists
of the day. On the ground of the ancient Parthenope he met with
many English families, who strongly recommended him to visit this
country — advice which he did not hesitate to follow, and arrived in
London about thirty years ago, but we have no means of ascertaining
the exact period. He immediately made himself known as a performer^
and for purity of tone, neatness of execution, and delicacy of taste, was
admired by all the judges and numerous amateurs in this metropolis.

On the foundation of the Philharmonic Society, in 1818, Signor Spag-
noletti became an original member, and led two of the concerts every
year, till the time of his decease, officiating one season, if not more, as
a director.

When Mr. Weichsel withdrew from the King's Theatre, in con-
sequence of a reduction of salary, Signor Spagnoletti was appointed as
his successor; but, in 1817, the former was, by the new director of the
theatre, induced to resume his chair. Quitting it, however, the year
following, Signor Spagnoletti again occupied it, and continued to fill it
to the last ; though more than one attempt was made to displace him«
and would have succeeded, but for the interference of friends he pos-
sessed among the subscribers to the Opera, and of other influential
persons. •

Some years ago this distinguished performer suffered much from an
illness that showed a paralytic tendency, and of which he had other
returns. But on the 14th of September last, the malady recurred with
fatal violence : he became speechless, though he retained his faculties
till Tuesday, the 2drd of the same month, when he expired.

As a professional man, his talents are too well known to need any
eulogy ; but it is due to his memory to add, that, in private life, as a
husband, father, and friend, his character is without reproach. And
though his means were rather limited — ^indeed he was no stranger to
the res angusta domi — he was always ready to assist his unfortunate
countrymen, his brother- professors, and public charities, whenever his
services were desired.

FOREIGN MUSICAL REPORT.

VIENNA.

Koniglichea Theater. — For some time past but little interest has attached
to the performances at this theatre ; indeed the only recent novelties
have been the production of Die DriUinge (The Three of a Birth) of
Mr. Detroit, converted into an opera, which was unsuccessful, and the
first appearance of a M. Fomer (as Max, in Der Freyschuiz), a singer
of moderate worth ; his voice is a baritone. Auber*8 Schicur oder der
Falschmunzer (Le Serment, ou le faux Monnoyeur) and Chelard's
Macbeth are in rehearsal, and the composer of the latter is expected
shortly in Vienna to undertake personally the direction of its first
performance.

The Josephsiddier Theater has put forth its claims upon the public
patronage under the management of Madame Hoch. The first opera
was Der Schtour; the highly gratifying manner in which it was given,
under the direction of the efficient and talented kapellmeister Kreutzer,
justifying the pleasing anticipation of great future attractions in the
opera department.

On the 31st of July there was a public trial concert of the pupils of
the Musical Society, after which the distribution of prizes to the pupils
of the Conservatory took place. The talented and well-taught pupils
received much applause from a numerous audience, who at the same
time bore testimony to the zeal of the professors and the utility and
excellence of the Institution.

Count Gallenberg has quitted Vienna for Naples, where he is to com*
pose, in the course of the winter, two grand ballets for the Tealro San
Carlo,

BERLIN.

The arrival of Demlle. Lutzer and M. F5ck from Prague, at the end
.of August, roused the Opera from the state of torpor into which it had'
sunk many weeks previously. The first character sustained by the
former was Desdemona^ in which she displayed a voice of great flexi«
bilitv though not of rich quality, a style acquired in a good school, and
much tenderness and expression in her singing ; her articulation, more-

THE MUSICAL LIBRARY.

107

over, is very distinct M. Pdck appeared first as Figaro in Der Barhier
von Sevilla^ then as Don Juan^ Mahomet in Die Belagerung von
Carmth (L'Assedio di Corinto), and subsequently in Zampa, and con-
cluded his engagement as Robert in Robert der Teufel ; his voice is
Kwerful and rich. The other characters, which have been sustained by
imUe. Lutzer, are Donna Anna^ Patnyra in Die Belagerung von
Corintht Julia in Die Capuleti und Montecchi^ and Zerline in Fra
Diavolo,

Der ^geuner (the Gipsy), by E. Devrient, was produced here on the
19th of September, and if the result was less brilliant than the composer
might have desired, the opera obtained, among the cognoscenti at least,
what the French call a meeds d'estime.

KonigsstUdter Theater. Demlle. Hahuel, on her return to Berlin,
appeared here in the Stramera.

At the desire of the Princess Louise, widow of Prince Radzivill, a
aacred concert was given on the 10th July, in the garrison church, by
the members of the Vocal Academy and of the Koyal Chapel, the pro-
ceeds being applied partly to the fund for the widows of the members
of the orchestra, and partly to the relief of the distressed inhabitants of
Pinna. A cantata by Haydn, a crucifixus by Lotti, and a chorus from
Faust^ with introduced choral melody, were selected for performance ;
the latter, a composition of the late Prince Radzivill, remarkable for its
apirited instrumentation, produced a deep impression upon the audience.

M. G. A. Dreschke, a pianist and music-master of high repute, has
invented a novel and ingenious key-board, which, though possessing
many points of advantage, can scarcely be expected to be adopted to any
extent at present, as the art of playing must be entirely altered to suit it.
The same gentleman has also invented a new pedal mechanism for the
organ.

LEIPZIG.

On the 20th of August M. Lobe's grand magic opera, in five acts,
with dancing, pantomime, and tableaux^ Die Fursiin von Grenada^
'was given, under the direction of the composer. The part of the
Princess Solabella was sustained by Madame Piehl, that of Nadir e by
Demlle. Gerhardt, and Hariia by M. Eichberger, all of whom were
admirable in their respective characters. At the conclusion of the opera,
which was got up in a style of uncommon grandeur, the composer was
^led forward to receive the applause of the enraptured audience.

On the llth of September, the young pianiste, Clara Wieck, gave a
concert for the poor, at which she played a rondo of Chopin's, a concerto
of her own composition, and a toccata by Schumann. Madame Von
Biedenfeld and Madame M. D. Pohlenz were the principal singers.

MUNICH.

On the birth-day of his Majesty, there was an admirable performance of
Die Zauberjloie, Madame Spitzeder particularly distinguishing herself as
Pamina^ and her sweet voice and excellent delivery being justly appre-
ciated. M. Hoppe, also, as Tamino, both played and sang well. This
gentleman is in every respect a great acquisition to the opera company.
Of some Italian operas recently given, Rossini's lialiana in Algieri
proved the most attractive, Santini personating Taddeo with peculiar
animation in the acting as well as singing. M. Ch^lard has written a
part in his new opera Die Herrmannsschlacht (Herrmann's Battle)
expressly for Madame Schechner Waagen ; it appears doubtful, however,
from the delicate state of that lady's health, whether she will be enabled
to undertake it.

FRANKFORT.

M. Wild has created an extraordinary sensation here ; on the 2nd of
Auffust he sang Gualliero, in Bellini's Seerauber (II Pirata), and little
as uie part is suited to the range of his voice, had the art to conceal the
. defect BO admirably, that very few indeed could be aware of its existence.
Madame Fischer Achten's Imogine was perfect.

MARSEILLES.

There is now an Italian opera company established here, whose perform-
ances are indeed excellent : a youthful singer, Demlle. Franceschini, is
its most valuable member ; she has distinguished talent and a sweet voice.

CADIZ.

Donizetti's Elmr d^Amore was performed here .some time since, the
prima donna Giunti, after having overcome some little timidity, eliciting
much applause ; and M. Cnstofani, also, who is stated to be the best
tenor di mezzo carattere ever heard in Cadiz, contributing towards the
success of the opera. Pacini's GUArabi in Gallia vfM produced ou the
arrival of Madame Fischer, who, as Leodato, experienced the most
gratifying reception.

LISBON.
Paer's Agnese has been recently performed here ; the music producing
but little effect. Madame Monticelli, however (as Agnese)^ who intro-
duced a rondo by M. Schiva, was greeted with much applause.

VALENCIA.

Demlle. Palazzesi, the prima donna, is the idol of the admirers of the
opera in Valencia ; in the operas of Norma, by Bellini, and Chiara di

Roienberg, by Rtccl, the manifestations of applause which her perfomn
ances drew f<Mrth were almost incessant

J MILAN^

On the 18th of July the Brothers Folz, virtuosi on the flute, gave a
concert at the Teatro CanobbianOy in which they added much to their
fame. The season was by no means favourable for them, the heat being
almost insupportable ; the consequence of this was that the house was
very thinly attended, but the scanty audience expressed their delight in
loud and repeated bursts of applause.

The celebrated guitar-player Luigi Legnani is now in Milan.

Some years ago, when Madame Pasta (her fame being already spread
over the continent of Europe) returned to her native country, and was
received at the Teatro alia Scala with the most ardent enthusiasm, the
sculptor Valerio Nesti struck a medal bearing her image. This year
Madame Malibran celebrated a similar triumph in Milan, and Nesti has
just published a medal with her likeness. Around the head is the
inscription — ' Maria Felicitas Garcia Malibran ;' on the reverse — * Per
universale consenso proclamata mirabile nell 'azione e nel canto ; Milano,
MDCCCXXXiV.* The resemblance is striking.

NAPLES.

Teatro San Carlo, — ^The only new opera produced here during the
carnival season was La Figlia deW Arciere (The Archer's Daughter),
by M. Coccia, which was not very favourably received ; at the Teatro
Nuovo also, a new opera by M. Pogliano*Gagliardi, under the title of La
Casa (The House), was not more successful. Signor Lablache had a
benefit at the former theatre, on the SOth of July, the profits of which
he presented to two brother artists in reduced circumstances. On this
occasion one act of La Parisina and two acts of Anna Bolena were given.
Donizetti has been appointed by the King of the Two Sicilies professor
of compo^tion at the Royal Academy of Music at Naples.

ROME.

Teatro d*Apollo. — During the last Carnival season the furore created
by Madame Ronzi de Begnis was almost unprecedented^ In I Nor^
manni in Parigi, it is true, her success was not extraordinary, her voice
being rather weak ; but on the production of Norma her reception was
unusually brilliant To such an extent indeed did the enthusiasm of the
audience show itself, that the governor, who was present, was induced
to accede to the wishes of the enraptured hearers and sanction an encore,
an indulgence the prohibition of which has been rigidly observed for the
last twenty years ; on the following morning, however, the prohibition
was renewed. The uproar was of the wildest description ; in the boxes
handkerchiefs and scarfs were seen waving to and fro, and in the pit the
gentlemen threw up their hats in their transports of delight. Farces of
this kind at the opera in Italy are neither of recent origin nor of rare
occurrence. On the night of this lady's benefit, portraits, verses, and
garlands were showered upon the stage ; and at midnight a grand sere-
nade was given beneath her window, and when Madame Ronzi appeared
to return thanks, an unanimous ' Ewiva !' burst from the assembled
crowd of 2000 persons.

Teatro Voile. — ^This theatre, though previously devoted exclusively
to the opera buffa, has, during the carnival, had its serious opera also ;
for instance. La Sonnambula. Two new operas have also been given
here ; the former of which, I profnessi Sposi (The Betrothed Couple),
by Luigi Gervasi, pupil of the Neapolitan Conservatory t was a failure :
of the other, I due Incogniti (The Two Unknown), by Giuseppe Bor-
naccini, some of the pieces were very pleasing.

THE DRAMA,
English Opera Housb.

On Monday, October 27th, another new opera, lo which the term
* grand' is very fitly applied, so far, at least, as concerns the music, was
produced at this theatre.

DRAMATIS PBRSOMA.

Duke o/Auttria ...... Mr. Dubochet.

Hermann (his Son, a profligate, under the assumed name of Sir

Gowther) ...... Mr. H. Phillips.

Protenburgr (Chamberlain to the Princess) . . Mr. G. F. Stanley.

Conrad (Prince of Mantua) ..... Mr. Wilson.

Oiamar (his Seneschal) • % . . . Mr. Perkins.

Leopold and Lorenzo (nis Attendants) . . Messrs. Aidridge and Brunton.

Qr{jffinkhu (a Bandit, Sir Gowther* s Associate) . . Mr. Wrench.

Wolfgang ....... Mr. M'lan.

Itabeiia (Daughter of the Duke of Austria) . . Miss Fanny Healy.

M#r^re/ (her Attendant) . . . . . Mrs. Wavlett

MarcUda (a dumb Sister of the Prince of Austria) . . ^. Mrs. Ashton.

Hermann is the Duke of Austria's sop, and, though heir to his father's
crown, prefers the society of bandits to that of a court, and takes the
command of a gang of condottieri. Maralda is enamoured of this
profligate, and resolves to reclaim him. An opportunity is afforded by
the marriage of her brother Conrad with Isabella^ who, passing near,
the haunts of Hermann and his band, arc captured. The captain is,
by Maralda's interposition, prevented adding to his other crimes the

108

THE MUSICAL LIBRARY.

last outrage on his sister, who is not recognized by him. Horror-struck
when he discovers his relationship to his prisoner, he becomes deeply
penitent — wanders from shrine to shrine in the humblest garb, and ar-
rives at Mantua, where he is treated with the indignity to which his
wretched appearance and beggar-like supplications expose him. A con-
spiracy, in the mean time, has been formed against Conrad. Hermann,
unknown, signalizes himself in a conflict, wherein the hostile party are
defeated. He is pierced by a spear ; Maralda binds up his wound,
makes known who the ch&mpion really is by means of a fragment of tlie
weapon, and the hero of the piece is thus restored to his family and rank,
giving his hand to the dumb lady who had preserved his life, as a pledge
of his sincere reformation.

This drama has been most unmercifully abused ; but we really dis-
cover nothing in it at all inferior to most things of the kind, which are
generally but mere vehicles .for music. Tiie fact is, that the author
having concealed himself, the critics poured the whole phial of their
wrath on one of whom they had no knowledge, and had no motive for
sparing.

Of Mr. Tliomson's share in this we are disposed to think most highly,
it seems to us to be of the very first order of dramatic music. We were
present at the third representation, concluding that it then would be
heard in the most advantageous manner. But we were grievously
deceived; a more imperfect performance we never witnessed. The
chorus, on whom much depended, had migrated to the winter theatres ;
so had two or three important personages of the orchestra, the re-
mainder executing their duties in a most slovenly manner. Tlie whole
too, was got up with much less liberality than bad been displayed
in the two preceding operas. The corps de ballet, if it deserves the
name, was scanty and inefficient ; and even the singers, except Mr. H.
Phillips, were unequal to the parts assigned to them : Mr. Wilson,
we are told, did not like his. He certainly sang it as if he did not
understand one note of the music ; his distaste to it, therefore, is easily
accounted for.

Hoping to witness an improvement in the performance of a work
which, should justice ever be done it, will be confessed to have formed,
in conjunction with the Mountain Sylph, an era in the history of the
English school of music, we went to the theatre a second time ; and if
Hermann was all but sacrificed at our first visit, its poor mutilated
remains were now trodden under foot. It had been cut and hacked
with so little mercy, that the performers were at a loss how to proceed ;
the best things were torn out of it, the public very naturally expressed
some resentment, and the piece was withdrawn.

To this account we shall only add, that the music will come under
notice in our Review department, when, unless a close examination
should lead us to alter our opinion much, we shall have a further and
better opportunity of attempting to rescue it from* the neglect to which
a performance most inadequate to its merits has hitherto condemned it.

Drurt Lanb Theatre.

Under the title of The Red Mask, or the Council of Three, a ' Grand
Operatic Drama ' was brought out at this theatre, on Saturday, the 15th
of last month. The following are the characters and their represen-
tatives : —

The Do^e of Feniee

Orademgo

JSiorotino

Barharino

Don Camillo

jifuelfMj (a Monk)

Jaoopo, (the Bravo)

Antonio

Bartolcmeo

Fietro

Giovmmi •

Oino •

Vudeita

Geltomina •

Florinda

> The Council of Three <

Fuhermen

Mr. Young.

Mr. SeguiD.

Mr. Diddear.

Mr. Matthews.

Mr. Templeton.

Mr. Oiubilei.

Mr. Cooper.

Mr. Warde.

Mr. Bedford.

Mr. S. Jones.

Mr. Eaton.

Mr. Yarnold.

MiH Shirreff.

Miti £. Tree.

Mrs. Chester.

The scene is Venice ; the period the commencement of the 17th century.
The drama is formed on Mr. Cooper's novel, but comes into Mr.
Planchcl's hands through the medium of an Italian opera, II Bravo ;
which, however, he has altered and made accord more with the original.
The story is as follows : —

While Jacopo was a youth, his father fell under the displeasure of the
Council of Three, who threatened him with their vengeance, but pro-
mised to spare his life on condition of his son's becoming their deadly
tool — Uieir hired and official assassin. The young man at first revolted
at the proposal, but to eave a parent from a cruel death, at length con-

sented to accept the office, and during many years his stiletto was
actively employed at the bidding of his masters. He now discovers
that his father, who had long been confined, has been destroyed by the
sanguinary tyrants, and meditates revenge. His designs are discovered
by Gradenigo, one of the Three, who resolves to circumvent them. For
this purpose, he causes a fisherman to be drowned, and accuses Jacopo
of the crime. The latter had, under an assumed name, for some time
previous, engaged the affections of GeUomina, daughter to the keeper of
the state prison, and, as may be supposed, she is abundantly horror-
struck on discovering that her beloved Carlo is neither more nor less
than Jacopo, the Bravo I Still, his crimes do not lessen her attachment ;
she finds some excuse for them, and after her lover is condemned, ob-
tains, through the Doge, first his reprieve, then his pardon. He, we
are to suppose, receives her hand, is triumphant, and rendered happy.
AH the rest of the story is mere underplot, only meant to vary the
action of the hero, to give him breathing-time, and relieve by exciting
a kind of secondary interest

A story that is liable to few objections in the form of a novel, may be
very unfit for stage representation. A drama well suited to the meridian
of one capital, is not necessarily well adapted to that of another. We
will not enter into the question of how far such a history ought to have
appeared in the form which Mr. Cooper has given it, or whether, dra-
matized, it should have been produced in Paris ; we view it as brought
forward in London, and confidently affirm, that if the Licenser of Plays
had been as observant of the moral tendency of such a piece as he is of
very trivial matters that seem to have a political bearing. The Red Mask
never would have disgraced our stage. If it is to continue there, let it
be unmasked — let it be new named, and called The Beloved Mur-
derer, or Assassination Vindicated ; — ^for to attempt to palliate a
long series of cold-blooded crimes — crimes committed for a considera-
tion, is to justify them, whatever ingenious sophistry may advance to the
contrary. In this very moral country we incarcerate a man, that is to
say,' we ruin him, and probably all his family, for breaking a pheasantTs
«gg found in a field ; while we tolerate, we applaud, an exhibition in
which a hired assassin, steeped up to his chin in the blood of the inno-
cent, is made an object of solicitude, of sympathy !

After expressing ourselves so unequivocally, perhaps it may be super-
fluous to remark anything of minor importance in this ]Hece. We,
however, 'will briefly say, that the whole drama is languid till the last
scene, and that the denouement is brought about very clumsily.

The music, by a new composer, Marliani, is, from first to last, a
meagre imitation either of Rossini or of Rossini's imitators, with the
exception of one piece which is borrowed from Meyerbeer. We would
willingly mention some one thing that makes, or, when better known,
is likely to make, the least impression on those who have any knowledge
of, or taste in, either melody or harmony, but find it impossible. Not
an original idea could we discover — ^not a plagiarism or imitation,
abounding as both are, that can even plead effect as an apology. The
fact is, that to the scene-painter the success of the piece is mainly due,
and his merit cannot be overrated. The acting also of Miss £• Tree,
Messrs. Cooper and Warde, is entitled to all the praise we can bestow.
Miss Shirreff made us wish that something more worthy of her had
fallen to her share; and Mr. Templeton was so bounteous of his high,
screaming notes, that we had no cause to regret that better music had
not been put into his hands.

TO READERS AND CORRESPONDENTS.

Wa mean to aviul oonelves of otu corrsspondeiit's obiervations on the
Haydn.

We beg to decline, bat with many thanks, the MSS. of W. P. S.; T. V.; and
W. B. F.

We shall give our serioni attention to the friendly renuurks of Jrittoxsniis,

The Madrigal recominended it too long for our work.

To publish Quartets in Parts is quite foreign to our design.

We are not likely to be able to make any use of W. D.'s Song.

The hints of A. C W. and some other correspondents are Taluable.

The < Clerk* who addnsaes us, should strtTe to ezpxees himself more courteously.
The Harmomoon extends to eleven quarto Yolumes, and of course contains many
things that must not be rejected from our work. Ellis, in his Speciment, could not
avoid xepubluhing much that had appeared in the ReUqvst of Andeni Poetry y and
subsequent collections necessarily include several pieces to be found in both those
works. We shall certainly not be deterred from inserting what we consider the beet
music of the greatest masters, merely because it has appeared in another work. Be
it also known, that where the Harmonicon had one subscriber, the Musical Library
has above a dosen $ eleven-twelfths, therefore, of our subscribers would indeed have
reason to complain, were they deprived of what is excellent^ for no other reason than
its having been in print before.

The first passage of J. X. is good, if the | falls to a 6th on a. Then is nothing
bad iu the second passage, though it might M much better writteii«

We shall be glad to hear from I. P.

To I. W. D.'s communication we will gire early attention.

LONDON: CHARLES KINIGHT, 22, LUDGATE STREBT.

Pasms BT WILLIAM CLOWSS| Dvxs StbsbTi Lahbbtb.

MUSICAIi lilBRARY.

No. X. JANUARY, 1835. Price Sixpence.

The Music of Part X • .

Mtttical Reminiscencet of Earl Mount Sdg*
cumba •

Page
109

111

CONTENTS.

Society of British Musieiana 113

Haydn's Masses . 114

Review • • 114

Memoir of Choron •
Foreign Musical Report

Faff*
11$

. 116

THE MUSIC OF PART X.

Air, with Variations — (Page 165).
For Piano-forte and Flute, from the third Sonata of the set of
six, dedicated to the Qiieen of Great Britain, by Ignace Pleyel, a
composer almost idolized at the end of the last and the beginning
of the present century, but now nearly forgotten ; though some
of his works, this amongst the number, and two or three others
which we shall revive, are quite sufficient to establish a high re-
putation for invention, spirit, and taste.

lONACE (or IGNAZ) PLEYEL

was bom in 1757, at Rupperstahl, a small village within a few
leagues of Vienna. He was the twenty-fourth child of Martin
Pleyel, a schoolmaster of that place, and of a lady of noble
family, disinherited by her parents on account of what they
deemed so imprudent a marriage. She died in giving Ignace
birth. The widower agsdn entered into the wedded state, had
fourteen children by his second wife, and expired in the ninety-
ninth year of his age.

The young Ignaz learned, according to the German custom, his
own tongue, the elements of the Latin language, and music, all
at the same time. His natural disposition for tne latter induced
his father to give him Vanhall as a master ; and at the age of
fifteen he was placed under the instruction of Haydn, with wnom
he lived five y^ars, at the expense of 100 louis per annum, a
large sum at that period, which was defrayed by the Count
Erdcedy, a wealthy Hungarian nobleman, who, struck by the
talents and manners of the youth, took him under his protection.
In 1777, his patron allowed him to visit Italy, and at r^aples his
genius for instrumental music was evinced in a set of quartets, in
which were first displayed that originality of melody, which is
the characteristic of all his works, and a manner entirely his own.

In Italy, Pleyel made the acquaintance of the great masters
then flourishing in what was at that time the ' land of song,' —
of Cimarosa, Guglielmi, and Paisiello; and his taste was improved
by hearing such singers as Marchesi, Guadagni, Gabrielli, Pac-
chierotti, and many others. Nardini, the violinist, was still living ;
and Pugnani, the master of Viotti, was in all his vigour. With
such advantages his improvement was rapid, and he gained much
that he had failed to learn under Haydn, who, though the greatest
composer of his age, was by no means a good master. Indeed, it
may be laid down as a general rule, that genius of a high order,
and the power of teaching, are rarely, if ever, united in the same
person. At Naples, Pleyel was introduced to the king, who re-
ceived him with much kindness, and desired him to compose an
opera; his Ifigenia in AuUde was in consequence produced, which
proved successful, but it was the first and last work of the kind
from the same pen.

In 1783, Pleyel was appointed Maitre de Chapelle of the
cathedral of Strasbourg, and composed several masses and motets^
all of which, unfortunately, were destroyed in a great fire a few
years after they were written. From the above period, to the
year 1793, he produced nearly all those works which wafted his
fame into every city in Europe. Scarcely any instrumental music

was willingly listened to but that which he had created. In
1791, Salomon having engaged Haydn to compose symphonies
for his concerts, the managers of a rival institution, named the
Profesnanal Concert, sent for Pleyel to supply works of a similar
kind, who arrived in London, and produced a symphony of consi-
derable merit, as well as a charming concertante : but in the con-
test with the father of this high class of composition, he had no
chance; the concert, which was under the direction of feeble-
minded persons, failed, and Pleyel did not add to his reputation
by the part he had taken in it ; though he was a pecuniary gainer,
to the amount of £1200, with which sum he purchased an estate
near Strasbourg.

Suspected oi aristocratic opinions, Pleyel was, in 1793, de-
nounced no less than seven times to the republican authorities at
Strasbourg, and at length fled, but was pursued and taken. He
was severely interrogated, and protested his civUnie; though
required, as a proof of his sincerity, to set the music to a kind
of drama for the anniversary of the lOih of August. He of
course consented, and was allowed to return home to compose the
work, but under the guard of two gendarmes, and almost with
the axe suspended over him. After an uninterrupted labour of
seven days, the music was finished ; then performed under the
author's direction, and afforded so much satisfaction to the
Strasbourgers, that the author never after was suspected of en-
couraging politics at all adverse to the government Little satisfied,
however, with an occurrence which had put on so threatening an
aspect, Pleyel sold his estate in 1795, went to Paris with all his
family, and entered into a commercial speculation, becoming pub-
lisher of music and manufacturer of piano-fortes. The enterprise
proved successful, and the business is still carried on by his son,
Camille, who, though a skilful musician, devotes himself to trade,
as a more profitable and satisfactory pursuit.

After a laborious career, Pleyel retired to enjoy an estate, far
distant from Paris, purchased by the fruits of his talents and
industry, and indulged his taste for agriculture. His happiness
seemed complete ; when the revolution of July alarmed a mind
somewhat enfeebled by time. His fears for the security of his
property agitated a frame not very strong; he became ill; his
anxieties increased ; and after three months of suSering, he died
on the 14th of November 1831.

We have given a comparatively extended account of this com-
poser, because no memoir of him has yet appeared in an English
form. For the leading facts we are indebted to a notice which,
three years ago, appeared in the Revue Musicale.

Marche a la RoMAiNE — (Page 170),

one of the later works of Hummel : a notice of whom will be
found at page 26 of this volume.

Duet— (Page 157).

Could a man be secure
That his life would eudure,

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As of old, for a thousand long years.

What arts might he know !

What acts might he do !
And all without hurry or fears.

But we, who have such span-long lives.
The thicker must lay on the pleasure ;
And, since Time will not stay.
We'll add the night unto the day,'
And thus fill up the measure.

The author of this Anacreontic is unknown. We have h^e
slightly altered the original words, and so recommend them to
be sung. In a volume, containing The words of the favourite
pieces performed at the Catch Club, &c., the music is ascribed to
Goodwin ; but who this was, and when he lived, we cannot learn.
The composition is entitled to all the favour shown it from the
moment of its birth to the present period ; and it now appears,
for the first time, we believe, with an accompaniment ; which,
however, it is only desirable should be used, when the voices
stand in need of such support.

Aria— (Page 160).

Non vi turbate, n6,.

Pietosi Dei!
Se a voi m' involerb

Qualche momento.
Anche senza il rigor

De' voti miei,
lo morir6 d' amor,
£ di oontento.'

From the opera of Alceste, a drama by Calzabigi, a Florentine
poet of some repute ; author also of Orfeo, and of Armida, both
written for his friend Gluck, who set them to music.

CHRISTOPH GLUCK

was bom in 1714, in the Upper Palatinate, on the frontiers o
Bohemia, into which country his father, a person in mean cir-
cumstances, removed during the infancy of his son, and shortly
after died, leaving his child unprovided for, and devoid of the
means of obtaining any education. But nature had supplied the
young Gluck with an active mind, which soon manifested itself in
a talent for music, and by this he was enabled to travel from
town to town, supporting himself, till he reached Vienna, wher^
he met with a patron, a nobleman, who engaged him in his ser-
vice, took him into Italy, placed him under the renowned Padre
Martini, by whose instructions he profited so much, that before
he repassed the Alps, he had composed operas for many different
theatres.

Having thus gained some celebrity. Lord Middlesex, director
of the King's Theatre, engaged him as composer to that estab-
lishment, and he arrived in London to fulfil his duties, in the year
of the rebellion, 1745; but found that the prejudice against
foreigners ran so strong, that the house had, by order of the
Lord Chamberlain, been shut up, and it was only by the power-
ful interest and address of the noble manager that it was allowed
to be re-opened. Gluck composed an opera. La Cadufa dei
Giganti, as a piece de circonstance, a compliment to the Duke
of Cumberland; but it had little success. He afterwards pro-
duced Artamene, which was not more fortunate : and, subse-
quently, a pasticcio, Piramo e Tisbe. He now discovered how
essential a good drama is to a composer*s success ; and, having
returned to Italy, became acquainted with Si^or Calzabigi^
who in some degree following Gluck's instructions, wrote the
Orfeo, which was first performed at Vienna, in 1764, with the
most perfect success. It was afterwards produced in many
Italian cities, and not less favourably received than in Germany.
He now was invited to Paris, and embarked in the then hazardous
experiment of setting an opera in the French language to German
music Marie Antoinette, who had been Gluck s pupil, put into
his ha'nds Iphigenie in Aulis, altered from Racine. He composed
it, and the success of the piece was decided. Even the overture
was encored, an event that had never before occurred at the
French Opera.

After this, Alceste was translated into French, and adapted
to the Parisian stage, where it was received with acclamation.

The revolution thus produced in French music, created a
strong opposition. Piccini, an Italian composer, then rising into
eminence, was invited to the French capital, and became the

opponent of Gluck. All Paris was divided into two parties, —
wuckistes and Piccinistes, M. Suard and the Abbe Arnaud
espoused the cause of the German ; Marmontel and La Harpe
defended that of the Italian. All made themselves ridiculous by
attempting to compare what was essentially different, and at the
end of a few years the absurdity of the contest became apparent.

After composing two more operas, Gluck returned to Vienna
in 1779, and never after quitted that city. In 1784 he was
attacked by a paralytic afiection, under which he lingered till
1787, when he died, at the age of seventy-five, leaving a fortune
of about 30,000/. the fruits of his talents and industry.

The Chevalier Gluck — for he had received an order of knight-
hood — ^was a man of powerful mind, by means of which he sup-
plied the deficiencies of early education. He read much, asso-
ciated with literary and scientific people, and reflected deeply :
hence all his works display an intellectuality not often found
in the productions of the lyric stage, which have preserved
them, and will continue to preserve them, while nearly all the
compositions of his contemporaries and rivals have sunk into
obUvion.

Madrigal — (Page 162).

Out upon it ! — I have lov'd

Three whole days together,
And am like to love three more,

If it prove fiiir weather.

Time shall mould away his wings

Ere he shall discover
In the wide world again.

Such a constant lover.

But the spite on 't is, no praise

Is due at all to me ;
Love with me had made no staias

Had it any been but she.

Had it any been but she,

And that very face.
There had been, at least, ere this,

A dozen dozen in her place.

The words by the sprightly and accomplished Sir John Suck-
UNO, whose productions are much better known than the works
of many writers of far greater reputation. He was the son of
Sir John Suckling, Comptroller of the Household to Charles I. ;
bom in 1613, and died in 1641 • His natural abilities would
have enabled him to rise to much higher eminence as a poet^
but that he

•^— * priz'd hlack eves, or a lucky hit
At bowls, above all the trophies of wit ' —

as he says of himself, in his Session of the Poets. These viva-
cious lines we have adapted to an Italian madrigal with a Fal la
la burthen, composed by

GIOVANNI OIACOMO OASTOLDI,

of Caravaggto, and first published at Venice in 1591, with
others, under the title of Balletti a 5. co i versi per canfare^
sanare, e baUare, &c. Four years after Morley published his
short airs, in five parts, and it appears pretty evident that he
had not only seen, but that he profited W Gastoldi's labours*
Weelkes, too, in his madrigal ' Welcome, sweet ]^leasure,' mani-*
festly imitated a lively Fed la by Gastoldi, beginning 'A lieta
vita,' which, as well as the foregoing, may be seen in Burney's
Hist, of Music.

MoDiNHA — (Page 164.)

I.
As fades the mom,
'Mid dew-drops bom.

And yields to bummg noon,
My heart thus dead,
Its fieshness fled,

Beneath Love's Withering power declines as soon*
The dewy eve returning

Shall cheer the flowers that bnguish; ;
But ah! what balm
This heart shall cahn?

What dew of hoite assuage'my anguish?

THE MUSICAL LIBRARY.

Ill

The only balm
This heart to calm

Remains, dear maid, with you,
Whose pitying tear.
With influence dear.

Would sweetly fall, like mom's refreshing dew.
Then, my heart reviving.

No lonser left to languish,
Releas'd uom {>ain.
Would bloom again.

And sweetest joy succeed to anguish.

The words are iniitated from the Portuguese by W. J. Walter,
Esq. The music is from a collection of airs published at Lisbon,
the composer not being named. For the meaning of the word
Modinha we refer to page 75.

Canzonet— (Page 165.)
The Wanderer.

To wander alone when the moon, fiuntly beaming.
With glimmiering lustre, darts through the dark shade.

Where owls seek for covert, and night-birds, complaining.
Add sound to the horror that darkens the glade, —

'^8 not for the happy. Come, daughter of sorrow !

Tis here thy sad thoughts are embalm'd in thy tears,
Where, lost in the past, disregarding to-morrow.

There's nothing for hopes, and nothing for fears.

This is No. 2 of Haydn's second set of canzonets. It does
not appear who wrote the words ; and, exquisitely beautiful and
pathetic as the composition is, it seems probable that Haydn did
not exactly discover the poet's meaning, for he ends his air, and
uriih a ritornel too, where the author only intended the pause of
a conuna. But, even if the composer did understand the poet,
it is obvious that he was placed in a dilemma.

Glee— (Page 168.)

Adieu to the village delights.

Which lately my fancy enjoy'd !
No longer the country invites,

To me all its pleasures are void.
Adieu, thou sweet health-breathing hill!

Thou canst not my comfort restore ;
For ever adieu, my dear vill !

My Lucy, aJas \ is no more !

She, she was the cure of my pain,

My blessing, my honour, my pride ;
She ne'er gave me cause to complain

Till that fatal day when she died.
Her eyes, that so beautiful shone.

Are closed for ever in sleep ;
And mine, since my Lucy is gone,

Have nothing to do but to weep.

Could my tears the bright angel restore,

Like a fountain, they never should cease ;
But Lucy, alas ! is no more,

And I am a stranger to peace.
Let me copy, with fervour devout.

The virtues that glow'd in her heart ;
Then soon, when life's sand is run out,

We shall meet again, never to part.

These exceedingly tender lines are by a noble poet, George,
first Lord Lyttleton, though not published in either Anderson^s
or Chalmers's collection. George Littleton was born at Hagley
in 1709, became baronet on his father's death in 1751, and was
raised to the peerage in 1757. He was an active politician, and
for some years formed part of the ministry of George II. He
died in 1773. His first wife was Lucy, daughter of Hugh
Fortescue, Esq., of Filleigh, Devon, to whom he was married in
1741, and lost her in child-bed six years after. The above verses
were written on her death. The music is the composition of

JOSEPH BAILDON,

a gentleman of the chapel during part of the reigns of George II.
and George III. He gained one of the first prizes given by the
Catch Club in 1763, for a catch ; and a second for his fine Ana-
creontic fi;lee, 'When gay Bacchus fills my breast,' in 1766.
This is ijl the infonnation we can gather concerning him.

Bolero— (Page 170.)

Son Gelsomino, son piccol fiore,

Ma son le ninfe sempre amarose,
Piil che del gigtio, del mio candore.
Han le mie foglie si grato odore,

Che piii soave non han le rose,
Ben che regine degl' altri (lore.

Son Gelsomino, &c.-

The author of the words is unknown to us. The composer,
PiANTANiDA, has for some years past been a popular composer of
romances, ariettas, &c.; and, we believe, is setded, and still livings
in Paris.

Musical Reminiscences, containing an Account of the Italian
Opera in England, from 1773; continued to the present time,
and including the Festival in Westminster Abbey; by the
Earl of Mount Edgcumbe. Fourth Edition. 12mo. 1834.
(Andrews, Bond-street.)

The first edition of these Reminiscences appeared some seven or
eight ye^s ago, and was speedily sold off; its good sense and
correct taste, together with an easy elegance of style, recommended
the volume to sdl who took any interest in musical criticism, or in
the history of the King's Theatre during the preceding fifty years.
The name of the author not appearing in that edition, the work
was alone indebted for so large a sale to its own intrinsic merits.
The second and third editions were augmented by continuing the
history to a later period ; and the present includes an impartial
account of the late performances in Westminster Abbey.

The noble writer, in his Introduction, gives the following account
of the work : —

'The following pages owe their origin to a correspondence on the
subject of music, and on the changes it has undergone of late years;
in which were necessarily introduc^ some details respecting the former
state of our opera, and criticisms on the most celebrated performers
who brought it to its highest perfection. These having raised some
curiosity in the friend to whom they were addressed, I was induced ta
put them together in a more regular form, and to write as correct aa
account as my memory, naturally very retentive, could enable me to do,
of all the musical events that have occurred during the long period to
which my remembrance extends, and particularly of the Italian Opera
in this country.'

It cannot be denied that Lord Mount Edgcumbe is to be
reckoned among the laudatores temporis acti; but that he is gene*
rally right in preferring the pure style of the singers who flourished
during the. latter part of the last century and the beginning of the
present, to that which has of late years been witnessed in two or
three successful Italian performers whom it is unnecessary to
name, we are fully persuaded. His predilection, too, for the music
of the older school— of Gluck, Sarti, Piccini, Paisiello, Cimarosa,
&c., must at least be admitted to be natural, by those who knotr
how much of the effect of song depends on association. But there
is undeniably a high degree of positive merit in many operas of
the masters whom he so much admires^ and it is a reasonable
subject of regret with all real lovers and good judges of music*
that fashion should have deprived us of much that is excellent,
and forced upon us so abundant a quantity of what is always
insipid when not nauseous.

The author says, —

' I may perhaps be accused of presumption in entering into so much
critical dissertation on the science, for which I am ill qualified, havug
no better ground on which to form a judgment than a tolerable ear*
and long experience of hearing the best music while it was in its
highest perfection. To this accusation I must plead guilty.'

Not so, certainly, for his lordship is a musician, has composed
much, and in good taste. An entire Italian opera by him, the
Zenobia of Metastasio, was performed for Madame Banti*s benefit
at the King's Theatre in 1800, which we have always understood
was received with marked applause.

Of a most celebrated male soprano, concerning whom all
musical readers have heard so much. Lord Mount Edgcumbe
gives the annexed critical and interesting account :^^

*In the season of 1778 and 1779, arrived Ricchierotti, decidedly, in
my opinion, the most perfect singer it ever fell to my lot to hear. I
must enter into some detail respectmg him.

' Pacchierotti's voice was an extensive soprano, full and sweet in the
highest degree ; his powers of execution were great, but he had far toa

li 2

112

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ffood taste and too good sense to make a display of them where it would
have been misappli^, confining it to one bravura song (aria di agility)
in each opera, conscious that the chief delight of singing, and his own
supreme excellence, lay in touching expression, and exquisite pathos.
Yet he was so thorough a musician that nothing came amiss to him ;
every style was to him equally easy, and he could sing, at first sight,
all songs of the most opposite characters, not merely with the facility
and correctness which a complete knowledge of music must give, but
entering at once into the views of the composer, apd giving them all
the appropriate spirit and expression. Such was his genius in his em-
bellisbments and cadences, that their variety was inexhaustible. He
could not sing a song twice in exactly the same way ; yet never did he
introduce an ornament that was not judicious,' and appropriate to the
composition. His shake, then considered an indispensable requisite,
without which no one could be esteemed a perfect singer, was the very
best that could be heard in every form in which that grace can be
executed : whether taken from above or below, between whole or semi«
tones, fast or slow, it was always 0|)ei), equal, and distinct, giving the
greatest brilliancy to his cadences, and often introduced into his pas-
sages with the happiest effect* As an actor, with many disadvantages
of person, for he was tall and awkward in his figure, and his features
were plain, he was nevertheless forcible and impressive : for he felt
warmly, had excellent judgment, and was an enthusiast in his profes-
sion. His recitative was inimitably fine, so that even those wno did
not understand the language could not fail to comprehend, from his
countenance, voice, and, action, every sentiment he expressed. As a
concert singer, and particularly in private society, he shone almost more
than on the stage ; for he sang with greater spirit in a small circle of
friends, and was more gratified with their applause, than in a public
concert room, or crowded theatre.^ I was in the habit of so hearing
him most frequently, and having been intimately acquainted with him
for many years, am enabled to speak thus minutely of his performance.
On sUch occasions he would give way to his fiincy, and seem almost
inspired : and i have often seen his auditors, even those the least
musical, moved to tears while he was singing. Possessing a very
large collection of music, he could give an infinite variety of songs by
every master of reputation. I have more than once heard him sing a
cantata of Haydn s, called Arianna a Nasso, composed for a single
voice, with only a piano-forte accompaniment, and that was played by
Haydn himself; it is needless to say the performance was perfect. To
this detail of his merits, and peculiar qualities as a singer, I must add,
that he was a worthy, good man, modest and difiSdent even to a fault ;
for it was to an excess that at times checked his exertions, and made
him dissatisfied with himself, when he. had given the greatest delight
to his hearers. He was unpresuming in his manners, grateful and
attached to all his numerous fiends and patrons.'

In speaking of a Madame Prudom, a curious fact is mentioned,
new to us, and probably to most of our readers : —

* For a time she [Mad. P.] sang at Drury Lane Theatre, where she
first appeared in the Lord of the Manor. I mention this only to record
the singular circumstance, that in this opera the celebrated MissFarren,
who continues to be as much respected and beloved in the high rank she
now holds in society as she was admired when at the height of her pro-
fessional excellence, performed a secondary part both as actress and
singer. The latter character she soon abandoned,,but many still remem-
ber with delight, and all must have heard of, her' unrivalled talents as
the first of comic actresses. When she left the stage, genteel comedy
became extinct f/

From the year 1783 to 1785, Lord Mount Edgcumbe (then
Yiscount Yalletort^ commenced his foreign tour. He seems to
have been disappomted in the expectations he had formed of the
state of music on the continent. The Antiyono of Paisiello, per-
formed at the theatre of San Carlo at Naples, by ' Pozzi, first
woman, Rubinelli, first man, and David, tenor,' was the only
'thorough good opera' he had the ^ood fortime to hear in Italy.
During his stay in Paris, bis lordship s^ttended one concert tpi"
rituel. It took place —

* In the old theatre of the Tuileries, at which, for the first time, I
heard Madame Mara, just then returned from EngUnd, where she had
performed at the Commemoration of Handel, at Westminster Abbey.
Amongst other things, she sang, '^ I know that my Redeemer liveth,"
which was announced in the bills as being musique de Handel, paroles
de Milton. The French bad not the Uste to like it'

The commemoration of Handel in 1784 is thus mentioned: —

* The orchestra, in the first year, when it was the smallest, consisted
of between five and six hundred performers, vocal and instrumental.
The number was annually increased till it amounted to near a thousand,

* This, perhi^i the mott beautiful of graces, ia now entirely loit in Italy : not one
singer of that countiy to much as attempts it. From the Kngltsh it still is heard,
and often in great perfectionv— (14. Mt, E.)

t She has now left the stage of the world. Tha Conntsn of Derby died a ftv
yean ago, as much lamented as she was beloved.

Yet such was the admirable manner in which this prodigious band was
conducted by Mr. Bates at the or^n, and Cramer as leader, that not
even the smallest ever executed music with greater precision. It was as
one instrument.'

' The music was confined to that of Handel, the burst of one of
whose choruses caused a general thrill, and was sublime beyond imagi-
nation. Yet from the vastness of that venerable pile, never was the
fullest piece of music in the least degree too loud, even to those who
were near the orchestra, while its construction was so favourable to
sound, that Mara's single voice, or Cramer's single fiddle, were heard
most distinctly in every part.'

Madame Mara first appeared at the Opera in 1786. She is
described in a masterly manner, we have every reason to believe.
— 'Her voice, clear, sweet, distinct, was suflSciently powerful,
though rather thin, and its agility and flexibility rendered her a
most excellent bravura singer, in which style she was unrivalled ;
but she succeeded equally well in some of Handel's most solemn
and pathetic songs; though there appeared to be a want of that
feeling in herself, which nevertheless she could excite in her
hearers.'(p. 52.)

In 1787, Signora Storace and Si^or Morelli arrived in England^
and appeared first in Oli Schiavi per Amore, a pretty opera by
Paisiello. Morelli, 'having been running footman to Lord
Cowper, at Florence, could not be a great musician.'

' Storace was by birth, and parentage on her mother's side, English,
but went early to Italy, and was never heard in this country till her re-
putation as the first bufla of her time was fully established. She had a
harshness in her countenance, a clumsiness of figure, a coarseness in her
voice, and a vulgarity of manner, that totally unfitted her for the serious
opera, which she never attempted. But her knowledge of music was
equal to any thing, and she could sing well in every style, as was proved
by her performances in Westminster Abbey, where she sang with the
best effect : in my opinion she rarely appeared to greater advantage, for
in that space the harsh part of her voice was lost, while its' power and
clearness filled the whole of it. In her own particular line on the stage
she was unrivalled, being an excellent actress, as well as a masterly

singer.' * It was very little known that she had

been married at Vienna, to one Fisher, a doctor of music, and player on
the fiddle. The ceremony was performed by a protestant Grerman
clergyman in the chapel of the Dutch ambassador. Prince Adam
Auersperg and myself led the bride to the altar, and our minister, Sir
Robert Keith (whose proxy I had been) gave the wedding dinner ;
but the union was productive of so little happiness, that a separation
soon took place, she never bore his name, and Dr. Fisher was heard of
no more.'

The noble earl was always, and most justly, an ardent admirer
of Madame Banti. His critique on this splendid singer a^eea
with all that we have heard on the subject from the best judges;
and indeed with the opinion which we ourselves, though very
young at the time, ventured to form.

• We are now come to an interesting period in operatical history, the
arrival of Banti, whom I must ever consider as far the most delightful
singer I ever heard. She had begun the world as a cantqnie di piazza,
and as such, having attracted notice by her fine voice, she had been
taken from her humble calling, taught, and brought out as a singer
in concerts, first at Paris, and then in England, as before mentioned, at
the Pantheon, under the name of Giorgi. But though she had the best
masters, she was an idle scholar, and never would apply to the drudgery
of her profession : but in her, genius supplied the piace of science, and
the most correct ear, with the most exquisite taste, enabled her to sing
with more effect, more expression, and more apparent knowledge of
her art, than many much better professors. She never was a good
musician, nor could sing at sight with ease ; but having once learnt a
song, and made herself mistress of its character, she threw into all she
sang more pathos and true feeling than any of her competitors. Her
natural powers were of the finest description : her voice, sweet and
beautiful throughout, had not a*&ult in any part of its unusually exten-
sive compass. Its lower notes, which reached below ordinary sopranos,
were rich and mellow ; the middle, full and powerful ; and the very
high, totally devoid of shrillness : the whole was even and regular, one
of those rich voci di petto, which can alone completely please and
satisfy the ear. In her youth it extended to the highest pitch, and was
capable of such agility, that she practised and excelled most in the
bravura style, in wmch she had no superior ; but losing a few of her
upper notes, and acquiring a taste for the cantabile, she gave herself up
almost entirely to the latter, in which she had no equal.

* Her first appearance in this country was in the opera of Semira*
mide, or La Vendetta di Nino, by Bianchi, and all her part in it was
of the most beautiful description. In addition to the songs belonffing
to the opera, she introduced a remarkably fine air by Guglielmi, £om
the Of atorio of Debora, with an accompaniment for a violin obligato,.
origimUIy played by Cramer, afterwards by '^otti, Salomon, and

THE MUSICAL LIBRARY.

113

Weicbsell. This loiig, though long and one of great exertion, was so
great a favourite that it never failed of being encored, not only in its
novelty, but in every subsequent revival* Her acting and recitative
were excellent, and in the last scene, where Semiramide dies, was incom-
parably fine; No opera ever had greater success or a longer run than
this ; indeed, it was one of those of which it is imposisible to tire.'

Banti's last season was 1802, at nearly the close of which 'a
singular and interesting performance took place,' and is thus
described : —

' * Band prevailed on Mrs. Billington to perform with her on the night
of her benefit, leaving to the latter the choice of the opera, and the prin*
cipal character. Merope, by Portogallo, was fixed u^n, in which Mrs.
Billington acted the heroine of the piece, and Banti took the part of
Polifonte, though written for a tenor voice. The curiosity to hear these
two celebrated singers together was so great, that the theatre overflowed,
and even ladies were obliged to sit on the stage, for want of other places.
The performance satisfied every expectation, and the applause bestowed
equally on both was as rapturous as it was well deserved.'

After the retirement of Banti, Mrs. Billington, who had made
her fame as prima donna in all the great theatres of Italy, filled
the station of first woman at the King's Theatre. Lord Mount
Edgcumbe says of her, —

' This justly fiunous singer was bom of a musical family; her mother,
an English woman, having been a vocal performer of some eminence
in her line. When Miss Weichsell, she distinguished herself early in life
as a piano-forte player, as her brother did on the violin. She also soon
gave promise of vocal excellence. When I first heard her, in 1783, she
was very young and pretty, had a delightful fresh voice of very high
compass, and sung with great neatness several songs composed for Alle-
granti, whom she closely imitated. She was still young when she first
appeared at Covent Garden as Mrs. Billington. After performing at
that theatre for several years, she went to Italy to improve her taste,
and returned from thence a finished singer. Her voice, though sweet
and flexible, was not of that full nature which formed the charm of
Banti's, but was rather a voce di testa^ and in its very high tones re-
sembled a flute or flageolet. Its agility was very great, and every thing
she sung was execut^ in the neatest manner, and with the utmost pre-
cision. Her knowledge of music enabled her to give great variety to
her embellishments, which, as her taste was good, were always judicious.

' With all these great and undisputed excellencies something yet was
wanting ; for she possessed not the feeling to give touching expression,
even when she sung with the utmost delicacy and consummate skill.
Her face was handsome and her countenance full of good humour, but it
was incapable of change, and she was no actress. I therefore missed
Banti extremely during her whole first season, and did not admire her
as much as the public at large, nor as I afterwards did when I became
more fully acquainted with her merits, which, strange to say, I began to
appreciate more highly from the very circumstance which rather lowered
her in fitvour, and she rose in my estimation from the comparison which
tended rather to sink her in that of the public'

The author, in explaining himself, introduces Madame Grassini,
to whose most pathetic manner of singing he does not, in our
opinion, do all tne justice it deserved. Nor does the noble writer
rank Mrs. Billington so high in the scale of personal beauty as
we should have expected. He says, —

* The event to which I allude was the arrival of Ghrassini, who was en-
gaged for the next season to sing alternately with Mrs. Billington. This
very handsome woman was in everything the direct contrary of her
rival. With a beautiful form, and a grace peculiarly her own, she was
an excellent actress, and her style of singing was exclusivelv the can-
tabile, which became heavy d la hngue^ and bordered a little on the
monotonous : for her voice, which it was said had been a high soprano,
was by some accident reduced to a low and confined contralto. She
had entirely lost all its upper tones, and possessed little more than one
octave of good natural notes ; if she attempted to go higher, she pro-
duced only a shriek, quite unnatural, and almost painful to the ear. Her
first appearance was in La Vergine del Sole, In opera of Mayer's, well
suited to her peculiar talents ; but her success was not venr decisive as a
singer, though her acting and her beauty could not fail of exciting high
admiration. So e<|ui vocal was her reception, that when her benefit was
to take place she did not dare encounter it alone, but called m Mrs. Bil-
lington to her aid, and she, ever willing to oblige, readily consented to
appear with her. The opera, composed for the occasion by Winter, was
II Ratto di Proserpina, in which Mrs. Billington acted Ceres, and Gras-
sini Ptoserpine. And now the tide of favour suddenly turned ; the per-
formance of the latter carried all the applause, and her graceful figure,
her fine expression of face, togeUier with the sweet manner in which she
sung several easy simple aurs, stamped her at once the reigning favourite.
Her deep tones were undoubtedly fine, and had a particuburly good
effect, when joined with the brilliant voice of Mrs. Billington ; but
though, firom its great success, diia opera was firequentlj repeated, the^
never sang together in any other. Grassini, having attamed the summit

of the ladder, kicked down die steps by which she had risen, and hence-
forth stood alone. Not only was she rapturously applauded in public,
but she was taken up by the first society, fiUe^ caressed, and introduced
as a regular guest in most of the fitshionable assemblies. Of her private
claims to that distinction it is best to be silent, but her manners and ex-
terior behaviour were proper and flenteel.

* As I before observed, it was the comparison of these two rival per-
fi>rmers that discovered to me the great superioritv of Mrs. Billington as
a musician and as a singer. But as every one has eyes, and but few
musical ears, the superior beauty was the most generally admired, and
no doubt the deaf would have been charmed with Grassini, while the
blind must have been delighted with Mrs. Billington.*

(To be concluded in our nexi,)

SOCIETY OF BRITISH MUSICIANS.

The third concert of this associated body was given on the 8th
of last month, and commenced with a MS. overture, in e flat, by
Mr. J. H. Griesbach, the mechanical part of which is irreproach-
able, while everything in the semblance of originality, either in
design or manner, is wanting. We beg leave to correct an error
we fell into in our last concerning this gentleman's symphony ;
it was tried, but not performed. A ' scena,' — also new — ^by if r.
Westrop, begins rather in a promising manner, but falls off en-
tirely ill the second movement. A ' cavatina,' another MS., by
Mr. G. A Macfarren, inspires with hope, as does the preceding,
at setting out, but, like that, disappoints expectation as it pro-
ceeds. The last part of it is downright stuflF. And, in the name
of common sense, who gives names to these compositions ?— A
cavatina in three movements is a thing hitherto unheard of ' in
prose or rhyme.' A duet from BeUhazzar's Feast, by the author
of the above overture, has alone gentleness to recommend it :
reduced in quantity to one-half, it would be tolerable. A young
lady, Miss C. Calkin, played, with neat execution, a trifling con-
certo by Field. A ballad, composed by Mr. Parry, and very
charmingly sung by his son, was honoured by an encore, to which
its elegance, rather than originality, entitled it. This has an
obbligato accompaniment for the violoncello, which was played by
Mr. Lucas, who treated the audience with cadences almost with-
out number. A contemporary critic suggests that these were
intended as a satire on the finest and most distinguished violon-
cellist of the age. If so, they most completely failed in eflFect.
But we doubt the fact. The charming trio from The Mountain
Sylph was very indifferently executed. Indeed, how can this,
which is only calculated for the stage, be heard to any kind of
advantage iu a concert-room ? Be it observed, likewise, that here
is another proof that when our native composers pfoduce what is
worth hearing, they find large audiences to listen and applaud,
without the aid of such an institution as the present. A MS.
overture to The Merry Wives of fVindsor, by the clever young
Bennet, is a decided imitation of Mendelssohn's overture to a
Midsummer Night's Dream, and, considered as such, has merit.
The second part opened with a MS. symphony, in b flat, by
Mr. Lucas, the minuet and trio of which, the latter especially,
are as efiective as original. Mr. Walmisley's glee, ' I wish to
tune my quiv'ring lyre,' is a further proof that English music of
any merit could make its way before the establishment of a jealous,
exclusive society. This composition found a willing audience in
the Catch Club, the Glee Club, and many other places, long ago.
A concerto, played by Mr. Harper, only afforded an additional
proof that our countryman is the finest performer on this instru-
ment that all Europe can produce. A song by Mr. Nielson, ' I
hae nobody now,' is expressive and faultless, though, perhaps, the
unrelieved continuance of the minor third gives some degree of
heaviness to it. Mr. Leoni Lee, a new candidate for vocad fame
— new at least to us — sang a ' scena' by Mr. J. Bamett, the
recitative of which is bold, and well noted ; the air — (why not
aria, if part of a ' scena' ?) — ^not equally good. Mr. Lee intends^
we presume, to imitate Mr. Braham, and very successful is the
attempt. His voice, though not so full or so sweet, is not unlike
the archetype, and the style also resembles the original, without
being at all caricatured. We shall be anxious to near this gen-
tleman in one of Braham's songs, anticipating a favourable result.
A Round, called a ' Trio,' by Mr. G. A. Macfarren, requires no
remark ; and a MS. overture, by Mr. T. G. Reed, as a finale,
made us regret that we had lost many minutes in waiting to hear
it performed aU through.

L 3

114

THE MUSICAL LIBRARY.

: HAYDN'S MASSES/

To the Edilor of the Muncal Library.

Sir* — Pennit me to advert to the short Memoir of Haydn in The
Musical Library of June, in whidi no mention whatever is made of
his church music, an omission the more remarkable as a gap is thus
left in his history, from the period of the composition of his early
symphonies and trios, which were written when he was young, to that
of his arrival in this country at the age of sixty.

Daring this long intervening period, his chief productions were his
masses, in which may be dearly traced the further development of that
style which he at once founded and carried to its highest point of per-
fection. The universal ignorance and apathy respecting these works
are most extraordinary* Haydn is called par excellence the father of
modern instrumental music ; but why he is not in an equal degree to be
considered the progenitor of modem roeoi, it would surely not be easy
to determine. He received his laurel in Uie one case chiefly for his
twelve symphonies and his quartets, the former at least of which were
written after Mozart had terminated his short and brilliant career : but
here are sixteen vocal works, the great majority of which were produced
at a comparatively early period of his life, as fine and original in their
conception, and to which modem composition is as deeply indebted, as
to any thing he ever wrote. But Haydn was a beadsman, and hence
these efforts of his genius received the name of masses ; and here, in
ime wordj is the key to all the prevailing indififeience, inconsistency and
want of knowledge on this subject. However humiliating an inference
may be drawn from this fact, on the state of musical feeling in this
country, it is unfortunately too notorious for denial or evasion. It
is further remarkable that the 'Requiem of Mozart, being a prayer of in-
tercession for the dead, and thus in its fundamental doctrine exclusively
catholic, the public do not object to listen to ; and when in addition to
this we reflect that those who cast up their hands and eyes with sancti-
fied horror at the sight of the above word, are accustomed to approach
the throne of their creator every week for the purpose of repeating on
their knees a literal translation of tlie same mass ;* why, then, such an
extraordinary state of public opinion may certainly be very safely left
to its own comment, affording as it does so splendid an illustration of
the despotism of the Idola Fan of Lord Bacon.

I remam, &c.

S.E

REVIEW.

Datid, an Oratorio, in Two Parts ; the Words by the Rxv. John
Webbv, am., the Music composed, and dedicated^ by permission^
to her Most Gracious Majesty, Qusen Adelaide, by the Chevalier
SioisMONO NBUKOifM. (Cramer, Addison, and Beale.)

When first we heard that M.'Neiikorom had chosen as the founda-
lion of an oratorio, one which had already been dramatized for the
Colossus of sacred music, we silently wished that he had selected any
other for his purpose, fearing that, in treating the same narrative and
expressing the same passions, either sometliing like an imitation would
be the result, or that, in avoiding this, a style might be resorted to not
suited to the dignity and solemnity of a scriptural subject. Our appre-
hensions, however, were soon dispelled ; there is no point of resemblance
between the David of the present day, and the Saul of nearly a centory
ago. The living composer has studied the ^eat ancient master, not
fcMT the purpose of becoming his debtor, but m order to avoid even the
suspicion. The manner he has adopted is different, inasmuch as it is
modem, yet, according to our notion, is not less appropriate ; though
some have thought it too operatic in character, an opinion which does
not appear to us to be maintainable, judging according to the prevailing,
and, we must add, just notions of the present day.

There is no overture to this work ; a short, soft, delicate, pastoral
symphony supplies the place of what formerly was thought essential to
an oratorio, and introduces the principal character, David, (a part
written for a tenor voice,) who, in a few words of recitative, announces
to his shepherd companions his call to the camp. These join in a
hymn, a chorus for four choirs, each for four voices, in e flat, slow,
devotional, and accompanied by the organ only. To give the intended
effect to this, the choirs should be more separated than ordinary orches-
tras allow, the ingenious design of the composer would then be appa-
rent, and the reality of the many parte be more distinctly observable.
Unless performed with a nicety not easily attained, this hymn, which is
calculated to operate powerfully on any audience, particularly a onlti-
▼ated one, will hang heavily, and seem lonff. David then twos leave
of his friends, in a florid, energetic air, with a brilliant flute accompa-
niment, but in which we do not find any new thought.

A very melodious solo for the violoncello now. leads to an expressive

• Btm^idm qmv€mt m Nmnme Dvmim an the only words of ths music of the
mass which axe not in the English liturgy*

redtetive, and a most lovely air, * Return, O David !' in which the sister
of the hero endeavours to dissiuuie him from warlike pursuito. This, a
Siciliana in a, gently supplicating in a beautiful characteristic strain^
proved at Birmingham, and will become everywhere, the most generally
admired piece in the oratorio. A chorus of Israelites, ' Bdiold the
giant 1' follows, displaying at once the musical skill and general judg«
ment of the composer. To the vocal parte he assigns little more than
simple counterpoint, in order to express the wonder, not unmixed with
awe, inspired by the appearance of Goliah, while the colouring — ^a bold,
martial accompaniment — ^is given to the instruments. Hie giant then
challenges some one to single combat. This leads to a duet for tenor
and base, ' Come unto me,' in f sharp minor, between David and Goliah^
the most original, dramatic, and masterly composition in the work.
The unusual accompaniment of a trumpet in a minor key is not the
least remarkable featore here ; and, ccmsidered as a musical dialogue^
in which the strongest feelings of scorn inspired by conscknis strength,
and valour excited by religious confidence, are expressed with force, yel
without the extravagance that unhappily is so common, we certainly
cannot name ite superior. A battle-symphony in d minor succeeds, in
which the composer has not exerted much strength. Then comes a tri-
umphal chorus, the best part of it being a few bars of solemn harmony,
at tne words

< — — — ^^— — ^— drive them—

Till night close in upon the fields of blood.

And darkness veils the slayer and the slain.

The daughter of Saul now appears in the scene. To this part is given
a song of thanksgiving, solemn and elegant. It becomes extremely
beautiful at that point where the time is rsOher quickened, and the bar*
mony modulates into a flat.

The finale to the first part opens with a chorus of tenors, on a per*
fectly original and equally pleasing subject, which continues through
the whole, increasing in number of voices ai^ strength of sound, till it
swells into a full chorus, accompanied by the entire band, including all
the newest and most powerful brass instrumente. The effect of this is
admirable: and the quartet that immediately follows, 'Who can pro-
claim,' the best portion of which is a canon in the unison, or octove, on
a simple but very sweet subject, is not less entitled to praise. This
finale winds up with a grand chorus, * Thou art a God of wonders,' a
fugue carried out to a considerable extent, worked in a very musician*
like manner, and as effective as most fugues are ; though certainly not
to be put in competition with some of HandeFs, and a few by other com*
posers of the ancient school

The second part of the oratorio is opened by Saul, who here first ap»
pears, in an exceedingly fine air, in two movements ; the first, ' Come,
gentle Sleep,' sTow, in a flat, a calm invocation, the words expressed
with great feeling; the second, ^ Mv brain is all on fire,' presto, in C
minor, in which the monarch, almost frantic with jealousy and suspkion,
gives vent to his passion, in a bravura full of energy, but devoid of rant
and of every other kind of vulgarity. This, in a detoched state, would
make a most interesting concert scene, if prefaced by a few explanatory
words. David then, at Jonathan's bidding, attempts to soothe the roval
rage by his harp, and in a gentle, delicious air in ▲ flat, * I will lay
me down in peace,' accompanied by the organ and harp only, makes aa
essay of the power of music on a * mind diseased,' but fails. A second
effort is made, in a song of a different colour, the accompaniment now
consisting of harp and como di baneUo. This, which assumes some^
what of a dictatorial tone, is intolerable to the king's ear, who raves,
and threatens instant death to the *• base shepherd,' — ^to the youthful
lecturer. A ver;^ clever chorus, ^ Haste thee away,' follows, composed
of short Algal nointo, the whole sotio voce, — ^in a whisper, urging David
to fly the wratk of furious SauL The design of this has ail t]& merit
of novelty, and the effect is uncommonly good and striking.

' Dearer to me than all below !' a leave-toking terzetto in e flat, fat
Saul's daughter, David, and Jonathan, (a tenor,) is a no less able Uian
charminff composition in two movements, — an andante in six-eight
tune, foUDwed by a vivace in common time. The motivi are original
and melodkHis, and combined with infinite taste and judgment. This
also will answer very well as a deteched piece. We trust that we shall
hear it, and likewise two or three other things from the same work, at
the concerto next season, where what is new, and at the same time
good, will^ probably be rare, if we may judge of the future from the
past

A duet between Jonathan and Saul, (tenor and base,) on the eve of
the fatal battle when both are destined to be slani, the first movement in
B minor, the second in x major, is a spirited comnosition, and highly
dramatic. It is this, and perhaps another piece, which has brought on
the work the reproof of being * operatk.' If that which is characteristic
is operatic^ then parts of Handel's gravest oratorios come under the same
description; * Go, baflled coward, go!' for instence, the taunting duet
in Samson. The battle-symphony, which next ensues, is much too
long, and made up of passages that are anything but uncommon. A
messenger brings intelligence of the death of the king and his son.
The announcement is followed by a masterly chorus of lamentetion, in
which the trumpet, sounding minor intervals, produces a wailins effect
never, we believe, before drawn from this instrument. The high-priesfc

THE MUSICAL LIBRARY.

115

now pTOclaimB David king, when a ' Coronation Anthem/ — 'AH hail to
thee, David !' commences, the first chorus of which is a laboured fugue.
This is succeeded by an air in two movements, allotted to the newly-
crowned monarch, which is protracted to a moat tedious length. The
last chorus follows, part whereof is a * celestial chorus,' intended to be
sung at a distance from the band ; but this failed at Birmingham, and
indeed we doubt whether it is calculated to produce effect anywhere,
however well performed. Then a fugue, — neither better nor worse than
most other fugues, and, no doubt, worked out at the expense of
much valuable time, and in compliance with custom — ^terminates the
oratorio.

;• For our opinion generally of this work, we refer the reader to our
eighth number : but we must here repeat, that while David is an oratorio
which it would be unwise to put in competition with Handel's best,
or with the first part of Haydn's Creation, yet it may very safely be
compared with any other composition of the same class, few works of
the kind having a just pretence to rank with it ; and we are persuaded
that after a second or third hearing it will develope beauties which,
however attentive and discerning the critic who sits as its judge, will
escape notice on a first performance.

NECROLOGY.

Alexandre Etienne Choron, son of a directeur desfsrmes^ was bom
at Caen, in 1772. His studies at the college of Juilly were shining
and solid ; but he only considered them as preliminaries to wider in-
formation, of which he felt the deficiency, and which was during his life
the object of his pursuit. Few persons were so well versed in Latin as
he was. He spoke and wrote it with ease. His memory was prodigious ;
he firequently recited long passages from Roman classics that he had not
read from the time of his leaving college. Greek literature was not less
familiar to him ; his passion for this was so intense, that in his latter
years he enjoyed it with all the ardour of youth. While still young
he gave himself up to die study of Hebrew; and his progress was so
rapid that, during the absence of the professor, he sometimes read lec-
tures to the collegians.

From infancy M. Choron manifested a decided taste for music ; but,
destined by his father to a profession quite foreign to the culture of the
arts, he was not permitted to abandon himself to these most seducing
studies. He supplicated for musical instructors, which were refused ;
and it was not until several years after quitting college that he could,
without any help than what Rameau, dAlembert, Rousseau, and the
Abbti Roussier afforded, acquire any notion of the theory of music — such
as at present prevails in France. As to the practical part of the art, he
was almost debarred from this for want of a master. He was always
aware of the faults of his early musical education ; and though nature had
endowed him with an exquisite feeling for the art, and though at length
he became a learned musician, he could never see at a glance the cha-
racter of a piece of music. He required time for reflection ; but after
the first moment he almost always entered more profoundly into the
apiiit of the composition than a more able but a mere musician would
probably have done.

The calculations on which the theory of Rameau is founded induced
M. Choron to study mathematics, which he also considered as contri*
buting to musical science. He soon devoted himself so fervently to this
point, that it occupied all his time. His progress was rapid, and was
duly noticed at the school of Bridges and Roads. M. Monge, deeming
him worthy to receive his instructions, adopted him as his pupil ; and in
1795 he obtained the situation of Teacher of Descriptive Geometry in
the Normal School. Shortlv after he was created chef de brigade
at the Polytechnic School, then just established. As he advanced in
mathematical knowledge, he became convinced that it was less connective
with music than is generally supposed. Persuaded of this, he determined
to attend only to the practical part of the art, and Bonesi, author of a
work which is not without merit, was appointed to give him instructions.
M. Choron had then reached his twenty-fifth year. Grt^ry, who had
formed an intimacy with him, at length advised him to take some lessons
in harmony of the Abb^ Rose, who was at that time deemed a learned
musician.

Bonesi soon made M. Choron acquainted with Italian musical litera-
ture. He began by reading with eagerness the works of P. Martini,
Eximeno, and Sabbattini. Later in life he took up the ancient authors,
— such as Gaforio, Aron, Zarlino, and Berardi. The necessity of being
acquainted with all schools, in order to compare their systems, led him
at length to learn German, that he might read the writings of Kimberger,
of Marpurg, of Koch, and of Albrechtsberger. Of all the authors the
last and Marpurg were those in whom he took most delight. He accu-
mulated, by years of deep study, more knowledge in the theory and prac-
tice of music than any other French musician had up to his time pos-
sessed. The wish to concentrate what he had learnt led him to associate
with M. Fiocchi, a distinguished composer and professor of singing.
The fruits of their union was the publication of a work entitled Principles
of Accompaniment of the Schools of Italy. (Paris, 1804, in folio.)

At the time when this work appeared, M. Choron became known by
a publication of quite a different character. His reflections on the prac-
ticability of improving the mode of instruction in the primary scnoola
led him to the discovery of a much more simple, easy, and rational
method of teaching reading and writing than is usually adopted. la
1800, he published the results of his reflections, and his little work,
written in a pliilosophical spirit, went through several editions in 1802
and ISO 5 ; and it has ever since served as the foundation on wluch the
system of teaching is built.

Influenced by a wish to render a taste for good music popular m
France, and to disseminate a knowledge of the theory and history of the
art, M. Choron opened an establishment for the publishing of music in
Paris, and invested all his patrimonial fortune in the undertaking, in
order to make known the best ancient and classical works, forgetting
that there were then no purchasers of such productions. He succes-
sively brought out, at great expense, the collection of Cantatas of Por-
pora ; the solfeggios, &r several voices, of Caresena, and those of Sab-
battini ; a collection of pieces, performed in the Sistine chapel during
the holy week ; a mass, in double canon, and the Stabat Mater of Pales-
trina; the Stabat Mater of Josquin Deprez; the Requiem, and the
Miserere of Jomelli; the Miserere^ with two choruses, of Leo; and
many other productions of the same character. At this time he waa
engaged in the publication of a voluminous work, which he had an-
nounced under tne title of Principles of Composition of the Italian
Schools. Examples in practical counterpoint and fugues, by Sala, and
engraved at Naples, on copper, at the King's expense, form the founda-
tion of this collection. It was accompanied by a treatise on harmonj
and the principles of simple counterpoint, by M. Choron; a new
translation of/Marpurg*s Treatise on Fugue; numerous examples of
fugued counterpoint, previously published by Martini ; in short, by n
valuable selection, accompanied by a commentary of the editor.

After immense labour and enormous expense. The Principles of Com-
position of the Schools of Italy appeared in 1808, forming three large
folio volumes of more than eighteen hundred pages, which have since
been divided into six volumes, by means of new titles. Their publica*
tion completed the destruction of M. Choron's fortune. Entirely oc«
cupied with the success of his work, he never thought of his finances,
and when he received the congratulations of his friends, it did not even
enter his thoughts how dearly he had paid for his triumph.

His active mind was always occupied by the project of several works
at a time, and the Principles of Composition were not published, when,
reading the Historical Dictionary of Musicians, written in Germany by
E. L. Gerber, he determined to write a work of the same kind. With
this view he joined M. FayoUe. Unfortunately, the plan was formed
precipitately ; their researches and compilations were hastily made, and
the work of Gerber, which was to form the basis of their own, was
negligently translated by a German, who did not understand French,
and knew nothing of music. M. Choron, whose health now suffered
from excess of study, could give little attention to the dictionary, and
his only share in it is a Historical Introduction, which had already ap-
peared in the Principles of Composition, The Dictionary of Musicians
was published in two volumes, in octavo, in the years 1810 and
1811.

It was about this period, that, admitted to the class of beaux arts of
the Institul^ in capacity of correspondent, M. Choron wrote many articles
on art and literature. That which treated of the Principles of Italian
Versification of Scappa may be considered as a chef-d'oeuvre.

The life of this learned man now became actively devoted to public
utility. Associated with the compilers oi the Bulletin of the Society
for the EncouragemerU of National Industry^ he was engaged by the
Minister of Religion, M. Bigot de Preameneu, in a plan to re-organize
the government and the choirs of the cathe^als, and to regulate the
music used in the religious f^tes and ceremonies. He published some
remarks on the subject, but there was an infiision of bitterness in them
that diminished their efiica^. His sarcasms made him many implacable
enemies, and led not only to mortifications that rendered the rest of his
life unhappy, but to acts of injustice towards him which hastened his
approach to the tomb.

As director of the music of f&tes and ceremonies, his want of an early
practical knowledge of music became apparent, and enabled his enemies
to make ill-natured remarks. It was his duty to give the time with a
baton, in doing which he occasionally manifested some want of habit.
By perseverance, however, he overcame what was only a temporary
difficulty, but the advantage taken of his inexperience made a lasting
impression on his mind.

M. Choron was now destined to suffer further and more severe mor-
tification. The popular government which the second revolution brought
into power, deprived his school of all its allowances, and from tliis
moment may be dated the speedy decline of his health. His hopes fled,
he lost his spirits and the remains of his temper ; he wrote some strong,
not to say violent, attacks on nersons in power ; grew worse, and gave
up life and resentments together. He died on the 29th of last June,
and was buried with distinguished funeral honours.

116

THE MUSICAL LIBRARY.

FOREIGN MUSICAL REPORT.

BERLIN.

On the 15th of October a new opera, Drakdna^ composed by Wolfram,
the text by Meynert, was produced for the first time, the rehearsals
having been superintended by the composer. It was unsuccessful,
the libretto being deficient in point of dramatic situations, and the music
itself not being of a very important character. The story of the opera
bears a strong resemblance to that of Kreukaer's opera MeluiinOj fur-
nished by Grillparzer.

Kapellmeister Pott, of Oldenburg, recently displayed his talents here
as a violinist, to the great delight of a numerous audience : a M.
Schalk, who, on the same occasion, played a concerto on the basset-
horn, was less successfuL

The newly-established musical branch of the Academy of Arts offers
to the student in composition, in addition to the excellent plan of study
laid down, the advantages of instruction in the theory of harmony,
double counterpoint, and the fugue, as also in vocal and instrumental
composition in the free style, by MM. Rungenhagen, Bach, and
Kapellmeister G. A. Schneider.

PRAGUE.

Rossini's WUkelm TeU has been produced here, compressed into three
acts ; but although exemplary pams had been bestowed upon it, and
the principal characters were allotted to eminent singers, it proved less
attractive than most of the operas which had preceded it. M. P5ck
played TeU admirably, and sang the part with great effect, though he
was not equally successful throughout the opera. Madame Podhorsky
sang Malhilde von Brunek with her wonted geniality ; the sweet voice
of Derolle. Kratky, as Hedwig^ was heard with delight ; and the part
of Arnold was efficiently sustained by M. Demmer. Tlie part of
Melchthaly which, on a former occasion, had been given with effect by
M. Strataky, who now performed GenUr but indifferently, was assigned
to M. Preisinger, who was not equal to it.

In Auber's Concert am Hofe^ Demlle. Lutzer sang and played AdeU
excellently ; and M. Preisinger played the KapeUmdater as well ; and
the light and pleasing opera by the same composer, Der Maurer und
der Schlouer (Le Ma^on), in which M. Demmer, as Der Maurer^
bhone no less as an actor than as a singer, was delightfully given.
This, hqwever, was not the case with Don Juan^ the opera company
being better calculated for the performance of the modem light opera
and operetta than of the grand opera. Dojina Anna, represented by
Madlle. Podhorsky, was the only character well sustained. M. Pock, as
Bon Juan, was indifferent, and in many of his pieces failed entirely.
M. Preisinger's Leporello was an unsatisfactory performance ; and the
remaining characters were little better.

WEIMAR.

During the past season, the following operas were produced, for the
first time, on the boards of the Grand Ducal Theatre : Gluck's Alcede ;
Lobe's Die Furstin von Grenada; Herold's Marie; Bellini*s Mon*
teccki und Captdeii ; besides some operettas and light musical pieces —
Die Furstin von Grenada proving most eminently attractive. There
has also been no want of variety in the performances : as, besides the
operas above*mentioned, the following have been given : Die Zauher-
flote, Don Juan, Die Entfuhrung\ aus dent Serail, Figaro, Der
Freyschuiz, Oberon, Sylvanct, Jessonda, Faust, Das unlerbrochene
Opferfest, Der Tempter und die Judin, Robert der Teufel, Lenore,
Der Barbier von Sevilla, Otello, Wilhelm Tell, Ferdinand Cortex, Die
Vestaliny Fra Diavolo, Die Stumme von Portici, Zampa, Der CaUf
von Bagdad, Die weisse Dame, and Johann von Paris, besides ope-
rettas. •

A new opera from the pen of our worthy music-director, M. Gdtze, is
expected to be produced shortly, under the title of Der Gailego,

Among the singers not engaged at the theatre who have been heard
during the season, were, M. Neufeld, of the Petersburgh Theatre, who
gave Tamino in Die Zauberflote ahd Johann von Paris with effect ;
Demlle. Pistor, of the Dresden Court Theatre, who appeared with suc-
cess as Zertine, in Fra Diavolo, and Rosina, in Der Barbier von Se*
villa ; M. Babnig, also of the Dresden Theatre, who, as Fra Diavolo

and OteUo, displayed great powers, both as an actor and singer; and
M. Knaust, oi the Bremen Theatre, who elk;ited much applause as
Licinius, Fra Diatolo and OteUo. This gentleman subsequently
accepted a permanent engagement at the theatre.

Various virtuosi, also, from other towns, have played at the theatre
on their respective instruments. Among these may be mentioned the
brothers Eichhom, Kapellmeister Nohr, of Meiningen, MM. Belcke,.
Miiiler, and others.

At the winter concerts of the Grand Ducal Chapel, which were con-
ducted with much spirit, the extemporaneous performances of M. Hum-
mel on the piano-forte afforded universal delight. At the Court Con-
certs, which were numerous, and generally of a very pleasing cha-
racter, the principal solo performers were MM. Pixis, V. Rdckel,
and C. Eberwein, on the piano-forte ; M. Moricke on the violin ; and
M. Tretbar on the clarionet.

A taste for the performance of sterling sacred music is gaining
ground in Weimar ; manv sublime and difficult compositions have been
admirably executed in the various churches during the last twelve-
month.

The Grand Ducal Chapel has lately lost one of its oldest members,
M. Reich, aged seventy years ; who, if not remarkable for the bril-
liancy of his talents, had, nevertheless, rendered the art great service
during his long career as a music-master. Among his numerous pupils
was Carl Maria von Weber, as a boy, whose future eminence his master
foretold at an early period. As a man, M. Reich enjoyed deservedly
univeral esteem.

KONIGSBERG.

On the 27th of August, M. S&mann conducted a most admirable per-
formance by one of those Vocal Societies, now becoming so common
in Prussia, of Handel's Utrecht Te Deum and his Hundredth Psalm, for
the benefit of the institutkm for the reclaiming of neglected children.

DANZIG.

A vocal festival was celebrated here on the 25th and 26th of Septem-
ber, under the direction of M. C. Urban, the projector of the first
Prussian festival, which was ^ot up last year at Marienburg. M.
Urban's ardent desire, as stated m the announcement of this festival, is
to advance church singing to the highest attainable pitch of grandeur
and sublimity, and, in furtherance of this object, he presented a copy
of the first four parts of the * Universal System of Musical Instruction,'
written by him, to each of the individuals who took part in the perform-
ance. These consisted of upwards of a hundred schoolmasters from East
and West Prussia, besides other dilettanti. The performances of the
first day comprised various compositions of Mozart, Beethoven, Haydn,
Bach, r^aumann, B. Klein, and a hyinn — a sterling composition — by
M Sobolewski, music-director in KOnigsberg. On the second day,
Handel's Alexander's Feast was given with great effect.

STOCKHOLM.

M. Fatscheck, formerly harp-player at the Italian Opera in St. Peters-
burgh, and who has been a member of the chapel here firom the time of
his arrival at Stockholm, five years aso, is now making a professional
tour through Denmark, Germany, and France. He is particularly re-
markable for the elegance and delicacy of his performance.

VIAREGGIO.

His Royal Highness the Duke of Lucca has instituted a school for
music here, to which Maestro di Capella Giovanni Pacini is appointed
Director. The establishment is founded for the education of twenty
pupils at the cost of the state ; but twelve others, who must be eight
years age, may be admitted upon payment of one hundred and twenty
or one hundred and forty scudi annually, according as they are natives
or foreigners.

The musical performances of a peasant from Bavaria, Franz Grassl,
with his six children, aged from three to fifteen years, have been heard
at the KUmthnerthor theater. The children all play upon several instru-
ments, and althouffh they are, of course, not to be classed among
virtuosi, it is neveruieless wonderful with what accuracy these juvenile
prodigies execute their little pieces.

The young pianoforte player, Theodor Stein, has been playing in
public ; his extemporaneous bntasia was a partial failure.

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET.

Fbinteo Br WILLTAM CLOWES, Dvxx Bts»%7, Laxbxth,

1^ ff^Ci^

SUPPLEMENT

TO THE

^^tt$tca( '^iftrttt^*

JANUARY TO OCTOBER, 1835.

LONDON:

CHARLES KNIGHT,

32, LUDGATK STKKKT.

■1

'wr

CONTENTS.

I. MUSIC AND COMPOSERS OF

Part XI. .

— xii. •

XIII.

XIV.

XV.

Page

1
IS
25
37
49

Part XVI.

XVII.

XVIII.

XIX. ,

II. BIOGRAPHICAL NOTICES.

Atterbury, Luffman

Attwood) Tliomas •

Bach, John Sebastian . .

Berg, George

Byron, George Gordon, Lord

Carey, Henry

Carter, Thomas

Couperin, Armand Louis

Congreve, William

Danby, John

Dudley, the Rev. Sir Henry Bate

Eberwein, Maximilian

Ford, Thomas

Gay, John . .

Giordani, Giuseppi

Goethe, Johann Wolfgang von

Graeff, John Julius

Gretry, Andre-Emest-Modeste

Gyrowetz, Adalbert

Home, Anne • •

Horsley, WiUlam •

Krumpholz, J. B.

Lablache, Signor

Leveridge, Richard

Lindpainter, P.

Marin, Vise, de •

Martini, Giuseppe San

Mayer, Simone

Mercadante, Saverio •

Moore, Edward

Moscheles, Ignatz

Morley, Thomas

Nares, James • •

Percy, Thomas

Pope, Alexander .

Ries, Ferdinand •

Salomon, Johann Peter •

Schobert

Schroeter, Johann Samuel .

Scott, Sir Walter

Sedaine, Michael Jean

Shenstone, William •

Shield, William

Pag«
61
73

85
97

98
49
98
13
62
3
38
61
14
74
62
62
99
38,51
14
37
99
74
86
26
14
73
76
51
13
97
13
2
98
86
97
38
62
38
74
1
50
49
73
14
74
99
62

Spohr, Louis
Steibelt, Daniel
Travers, John
Waller, Edmund
Wilbye, John •
Winter, Pietro
Woelfl, Joseph
Zelter, Carl Friedrich

Pag«
1
61
2
49
62
39
13
41

III. MISCELLANEOUS ESSAYS, NOTICES, &c.

Amateur Musical Festival « «. •

America, present State of Music in .

American Musical Societies • • •

Ancient Irish Music, on • • «

Apologue of J. P. Richter . .

Austrian National Hymn on the Death of the Emperor Francis

Beethoven and Dussek

Beethoven, Musical Criticism on (from the Foreign Quarterly

Review) .....
Birmingham Town Hall • •

Cramer, J. B., Public Dinner to • .

English Composers versus English Opera House
Enharmonic Organ, description of the • <

English Operas ....

Flute, on the, 88 ; a curious fact concerning the
French Grand Opera • . • .

Haydn's and Mozart's Masses

Installation at Cambridge • • • ,

Kettle-Drums, important improvement in «

Lablache, Signor, Biographical Notice of
Lectures on Sound . • . •

Lyre, Ancient, on the Re-Introduction of the
Mozart's Sons ■ . • • ,

Music, as an Amusement for the Lower Orders
Musical Idiot, a, • • . .

Musical Reminiscences of the Earl of Mount Edgcumbe
Napoleon, Musical Anecdotes of • •
Necrology — Bellini . • • •

Nortomsts and Gambatistes
Phonomime, the •

Schoolmasters' Vocal Festival in Germany, on the .
Spohr's * Jessonda, or the Rajah's Wife ' .
Taylor's Lectures on English Vocal Harmony •
Telephone of M. Sudr<^ . • • ,

Toast of the Zerbst Vocal Union
York Musical Festival • • • •

Zelter, biographical notice of • '^ •

30
78
90
51
105

88, 101

. 99

18, 101

• 101

27,65

100

. 105

. 77, 89

. 102

. 41

IV. REVIEW OP NEW MUSIC.
7, 22, 34, 45, 69, 81, 91, 105.

CONTENTS.

V. CORRESPONDENCE.

Auld Robin Ghray

Beethoven and Dussek

English Operas

Hayden's and Mozart's Masses

Mozart's Sons . .

Music, as an Amusement to the Lower Orders .

Telephone of M.^Sudrt^

VI. CONCERTS.

Ancient Concerts .
Benefit Concerts
Madrigal Society .
Philharmonic Society .
Royal Academy of Music
Society of British Musicians
Vocal Society

P*ge
17
7
86
29
89
65

. 31,43,66

57, 68, 80

19, 32, 44, 56, 67

34, 44, 54, 68

. 6,20

5,33

VII. THE DRAMA.
Covent Garden Theatre . .48, 60, 72

English Opera House . c 48, 60, 72, 84, 96, 108

King's Theatre • . 86,47,60,72,84,96

The Theatres ..... 18

Albany • •
Amsterdam •
Baltimore
Berlin,!!, 23, 35, 46<

106
Bologna •
Boston

Bremen • •
Breskw • 11

Brunn •

Brussels • •
Cassel •
Chemnitz .
Cologne •
Dessau

Dijon • •
Dresden • 35, 47,
Dasseldorf
Frankfort •
Genoa • •
Gotha
Halle .
Hanover
Kunigsberg
Leipzig 11, 24, 47,
Livorno •
Madrid • •
Magdeburg

VIIL FOREIGN MUSICAL REPORT

P«g«
• 83

59, 108

83,96
58, 82, 93,

. 24

. 83,96

. 36

86^ 69, 95

. 47

24, 107

. 71

. 72

59, 71, 108

. 24

47, 59, 106

. 72

24,47

11,59

82, 94, 108

. 72

24,59

Mentz
Milan •
Munich
Monster •
Naples
Neuchfttel
New York .
Nordhausen
Pftltnno 1

Page

. 59,71

12, 24

36, 47, 71

. 24

24, 47, 59, 108

. 24

• 84,95

• II

Paris 12, 24, 36, 47, 59, 72, 83

Philadelphia
Piacenza •
Potzdam
Prague •
Presburg
Rome •
Rouen
Rudolstadt
Stuttgard
Treves •
Trieste
Venice .
Verona

. 83,96
. 47
94
36,47,59,107
47
. 12
72
. 59
. 11, 47, 59
. 71
36
24, 59, 83, 106
47
Vienna, 11, 24, 35, 46, 71, 82, 94,

106
Warsaw. '. . 36,83

Washington • • 83

Weimar . • . 11, 24, 58

MUSICAL lilBRARY.

No. XI. FEBRUARY, 1835. Price Sixpence.

The Muiicof'PartXI.' T

Oa the Schoolmasters* Vocal Fetkivals in Ger-
many . . • • • 3

Musical Reminiscences of the Earl of Mount
Kdgcumbe 3

CONTENTS.

PaftB

Vocal Societ]r 5

Society of British Musicians 6

Madrigal Society 6

Birmingham Town Hall •••••• 7

Beethoven and Dussek 7

Review 7

The Enharmonic Organ 9

Foreign Musical Report •••••• 11

Musical Anecdotes of Napoleon • • • • 12

The Theatres 12

THE MUSIC OF PART XI.

Overture, Esther — (Page 1).

The annual performance of this overture in St. Paul's Cathedral,
at the feast of the Sons of the Clergy, and at the various music-
meetings in the country, has made it more generally known than
most of Handel's instrumental works. This circumstance, to-
gether with it3 intrinsic merits, induced us to re-arrange it, with
a view to diminish the formidable and unnecessary diiBcuIties
presented in one well-known adaptation, and to rescue it from the
injuries it has received at the hands of those who, to render it easy^
have stript it to bareness.

' Esther, composed in 1720, for the Duke of Chandos's chapel,
was the first oratorio set to music by Handel. In 1732 * it was
represented in action, by the children of his Majesty's chapel,
at the house of Mr. Bernard Gates, master of the children, in
James-street, Buckingham-gate.'

Andante, and Variations — (Page 6),

from Haydn's Symphony in D, the eighteenth of Cianchettini's
edition in score. The adagio prefixed to this is from a favourite
symphony in G, by the same, the third of the above-mentioned
edition.

Sonata, Clementi — (Page 10).

This is the author's Opera xi., and with it generally is printed
his celebrated Toccata, though in fact forming no part of that
work. But the effect of the union has been, that the Toccata,
which is one of the best exercises known, has got into general
use, while the Sonata, though full of beauties, has been neglected;
for the two together make a piece too long for the patience of most
performers, and of all hearers.

March— (Page 18).
Composed for the Harmonicon, in 1824.

FERDINAND RIES

was bom in 1785, at Bonn. His father was director of the
orchestra to the Elector of Cologne, and his grandfather had been
leader of the same. The French invasion having broken up most
of the establishments of the German princes, the education of the
young Ries was unavoidably much neglected, and he was in-
debted for his early knowledge in music to books and his own
industry. However, in 1801 he had the good fortune to attract
the notice of Beethoven, once the intimate friend of his father, to
whose advice and example he owes much of that skill in his art
which has secured to him an ample independence. Mr. Ries
arrived in London in 1813, and through the influence of his
countryman, the clever and excellent Mr. Salomon, was soon
electea a member of the Philharmonic Society, and well intro-
duced in the best musical circles of this metropolis. In 1824 he
took leave of England* and with a handsome competency, as well
as a handsome English wife, returned to his native country, where
he still actively employs himself in his professional pursuits.
Vol. II.

His works, for the piano-forte chiefly, are very numerous ; but
most of them are rather of the difficult kind, and few possess any
of those qualities which are inviting to amateurs in general. His
symphonies, two of which were composed for the rhilharmonic
Society, show great knowledge of music, and of the characters of
different instruments; nevertheless, to most hearers, there is a
dryness in them that will always operate against their becoming
popular.

Cavatina — (Page 1).
Winter.

Light and life in sadness languish,
Vital heat and joy forsake us :
After sullen, heavy days.
Follow long and dismal nights ;

from Haydn's Seasons ; the words translated from the German,
by the Baron Von Swieten, who has given so curious an English
version of The Creation. The baron, however, has succeeded
rather better in this instance than in his other attempt; we there-
fore have allowed the original translation to stand.

Song— (Page 2).
Absence.

What makes this poor bosom
So heavy and sad ?
Why am I thus pensive and tearful.
While all are so cheerful,
So sportive and glad ?
The birds in the bushes sit warbling away,

And seem to accuse me of folly ;
They bid me, like them, feel the freshness of May,
And banish all dark melancholy. ,

But how can this bosom
Be sportive and gay,
When he whom my fond heart possesses,
Whose absence distresses,
Is far, far away ?
Should be but return, like yon songsters so gay,

I '11 bid an adieu to all sadness ;
This heart shall revive with the freshness of May,
And beat with renew'd warmth and gladness.

These words are imitated from the German of Fribdrich Kind.
The music by Spohr, is the 1st of his Sechs deutsche Lieder,
Op. 41.

LOUIS SPOHR,

son of a well-known German physician, was bom at Seesen, in
the duchy of Brunswick, in 1783. Contrary to what we gene-
rally have to record of musical geniuses, Spohr in his childhood
showed no predilection for the art, and, it is said, was a dull
youth. At what period of his life his musical education began
does not appear, but M aucourt was his first, and the famous Eik
his second, master for the violin. With the latter he made a
journey into Russia, at the expense of the Duke of Brunswick,
whose chamber-musician he had become. In 1804 he travelled
through various parts of Germany, givins public concerts, at
which his performances on the violin excited the wonder and

THE MUSICAL LIBRARY.

drew forth the warmest panegyrics of the best critics. In 1805
the Duke of Saxe Gotha took M. Spohr into his service, as
Kapellmeister, and from that time he be^an to compose, or, at
least, became known as a comx)Oser. During his engagement at
Gotha, he made several professional tours in Germany, — ^was at
the Musical Festival at Frankenhausen, and at the Congress of
Vienna, in 1814, at both of which he gained additional renown.
He afterwards visited most of the principal cities of Italy, and on
his return to Germany was appointed director of the music to
the theatre of Frankfort on the Maine. In 1819 he arrived in
London, at the invitation of the Philharmonic Society, for which
body he composed two symphonies and an overture, which gave
him an undoubted right to be classed among the great composers
of the age. He has since produced many fine operas. Of these
Faitst, Jessonda, Zemire et Azor, &c., bear ample testimony to
the superiority of his genius ; and a later work. The Last Judg-
menty an oratorio, has furnished still stronger evidence of his
powers. This, which has hem so ably put into an English form
by Mr. Edward Taylor, is now known in almost every part of
Great Britain. M. Spohr has for some time past been fixed at
Cassel, as Kapellmeister, where he enjoys a very handsome in-
come, together with the consciousness that his weU-eamed fame
is daily spreading wider and wider.

Canzonet — (Page 4.)
CvpicTs Promise,

Soft Cupid, wanton, amorous boy,

The other day, moved with my lyre.
In flattering accents spoke his joy,

And uttered thus his fond desire : —

' Ohy raise thy voice ! one song I ask ;

Touch, then, thy harmonious string :
To Thyrsis easy is the task.

Who can so sweetly play and sing. ]

* Two kisses from my mother dear,

Thyrsis, thy due reward shall he ;
None, none like beauty's queen is ^ir,
Paris has vouch'd this truth for me.'

I straight replied, — • Thou know'st alone
That brightest Chloe rules my breast :

I '11 sing thee two instead of one,

If thou 'h be kind and make me blest.

• One kiss from Chloe's lips, no more

I crave.' He promised me success :
I play'd with all my skill and power.
My glowing passion to express.

But oh, my Chloe ! beauteous maid !

Wilt thou the wish'd reward bestow 1
Wilt thou make good what Love has said,

And by thy grant his power show ?

A paraphrase of a French sonff, by Prior, set to music by Travers,
and published in his set of Eighteen Canzonets. It is usual, at
the Ancient Concerts, to repeat the movement, * I play'd with all
my skiU,* and to conclude with it, a practice never intended by
the composer, and equally injurious to both poet and musician.

JOHN TRAVERS,

was educated in music in St. George's Chapel, Windsor, and
afterwards articled to Dr. Greene. About the year 1725 he
was chosen organist of St. Paul's Covent-garden ; and afterwards
of Fulham. In 1737 he was appointed organist of the Chapels
Royal. He was an excellent musician, and having at an early
period of his life formed an acquaintance with Dr. Pepusch,
derived great assistance from him in the prosecution of his musical
studies. H^ died in 1758> and was succeeded in the Royal Chapel
by Dr. Boyce.

Lodoviska,

Lovinski,

Lod.

ScENA B Duetto, (Page 9.)
Lovinski, liai cor —

Lov, AK ! mio dolce tesoro, la tua virtii
Come m'accresce in core
E costanza, e valore.
In si duro cimento,
Ceppi, carcere, error, minaccia, morte.
Ah no, pih. non pavento.
Anzi al tuo amor cosi costante e puro,
Pria di partire, etema fede io giuro.

Lov* Parto ! ti lascio ; addio ! —

Che son fedel, Io sai,

Fedel sempre m'avrai,

Primo e mio dolce amor.
Lod. Parto! ti lascio; addio! —

Ma in mezzo alle catene

L'immagin del mio bene

Porter6 sempre in cor.
Due. Ahi, che il dolor m'uccide !

Ncn posso piii parlar !

Ah ! il cor mi si divide,

Mi sento, O Dio ! mancar.

This Scena, which, as a chef-d'oeuvre of the master, we have
given entire, is from the opera of Lodoviska^ composed by

SIMONE MAYER,

commonly distinguished by the addition of Venice, but born at
Sandersdorf, in Bavaria, in 1760*. He was at an early age sent
- — • - - diCi '"

-Ne temi.

Ebben, deciso, Io del tiranno

Mai non sar^ : giurami che giammai

D'altro tu non sarai.

to study in Italy, and in 1802 was appointed Maestro < ^
at Bergamo. In 1799 he produced II Fanatico per la Musica,
in which is the lovely air Chi dice mal d'amore; and in 1800
appeared his Lodoviska, The latter, together with / Misteri
Eieusinh both written in the German style, paved the way for the
reception of Mozart^s operas in Italy. In 1803 he brought out
at Vienna VEqaivoci ; and in the same year he produced his
Gine%3ra in Scozia. In 1812 La jRo^a bianca e la Rosa rotsa, on
the subject of the wars between the houses of York and Lan-
caster, was brought forth, with vast success in Italy ; but when
introduced at the King's Theatre a few years since, it failed
entirely. It was certainly got up in a very imperfect manner,
but under the most favouring circumstances it would not have
succeeded in London. His greatest work, Medea, was produced
here in 1826, by Madame Pasta, who gave an effect to it which
carried it triumphantly through more than one season.

Ballad— (Page 14.)

Of all the'girls that are so smart.

There 's none like pretty Sally ;
She is the darling of my heart,

And she lives in our alley.
There's not a lady in the land

That 's half so sweet as Sally
She is the darling of my heart.
And she lives in oar alley.

Her father he makes cabbage-nets,

And through the streets does cry 'em ;
Her mother she sells laces fine

To such as please to huy 'em.
But sure such folks could ne'er beget

So sweet a ghrl as Sally :
She is the darling of my heart,

And she lives in our alley.

When she is by I leave my work

(I love her so sincerely) ;
My master comes like any Turk,

And bangs me most severely :
But let him bang his belly-fuU,

I '11 bear it all for Sally:
Ske is the darling of my heart.

And she lives in our alley.

Of all the days that *8 in the week

I dearly love but one day,
And that's the day that comes between

A Saturday and Monday ;
For then 1 'm drest all in my bes

To walk abroad with Sally :
She is the darling of my heart.

And she lives in oar alley.

* All the bbfjnphen of Mftyer give this date, but we are of opinion that tfa«j
have been misled by the Dictionmttre du Muucient, and that hia birth took p1ac»
at a later period, j

THE MUSICAL LIBRARY,

My master carries me to church,

And often am I blamed,
Because I leave him in the lurch

As soon as text is named :
I leave the diurch in sermon- time,

And slink away to Sally :
She is the darling of my heart,

And she lives in our alley.

When Christmas comes about again,

O then I shall have money ;
I'll hoard it up, and, box and all,

I'll give it to my honey :
I would it were ten thousand pounds,

I'd give it all to Sally:
She is the darling of my heart,

And she lives in our alley.

My master, and the neighbours all,

Make game of me, and Sally :
And, but for her, I'd better be

A slave, and row a galley :
But when my seven long years are out,

O then I'll marry Sally ;
O then we'll wed, and then we'll bed.

But not in our alley !

Both the poetry and music of this are from the prolific pen of
the famous Harry Carey. The one had the honour to be praised
for its simplicity by Addison, and the melody of the other drew
forth encomiums from Geminiani. But tempara mutantur, and
out of respect to the more refined notions of the present day, we
have slightly altered the words as they are placed under the
music^ and there omitted two stanzas, though here they ap-
pear at length, and as originally written. If tradition may be
relied on in this case, Carey set the words in two different ways,
only one of which he published in his Mmical Century , 1740.
We have given both, taking that first which for many years past
has been exclusively in use, and using the second, or the one
printed by the author, as a kind of variation on the former. It
is also proper to add, that Carey was not punctilious, or to speak
plainly, was very inaccurate ' in his musical rhythm, which we
nave endeavoured to correct. We have likewise re-written the
base.

HENRY CAREY

is supposed to have been an illegitimate son of George Saville,
Marquis of Halifax. He was by profession a musician, but so
badly educated in his art, that, as his friend Lampe said of him^
he was unable to put a base to his own ballads. But he was a
talented man, possessed a readiness of invention both in melody
and verse, a fund of humour, and had, as Dr. Burney states, the
power to excite mirth without being licentious, a rare quality in
ms day. The ballad here ^iven was founded on a real incident:
it was sung by everybody when it first appeared, and has been a
favourite ever since.

In 1715, Carey produced two farces; one of them. The Con-
trivances, was an entertaining piece, the Biographia Dramafica
states, and very successful. In 1734, his MochrTragedy of half
an act, Chrononhotonthologos, was first performed at the little
theatre in the Haymarket. In 1736, his Honest Yorkshireman
appeared^ and ran for many years. In the following year he
brought out his Dragon of fFantlev, set ' after the Italian man-
ner' by Lampe, an excellent burlesque of the Italian Opera.
Subsequently appeared Nancy, or the jParting Lovers, and other
dramatic pieces. In his Burlesque Birth-day Ode, he most suc-
cessfully ridiculed Cibber the poet-laureate ; and his compositions^
both poetical and musical, are exceedingly numerous, and were
much admired. Nevertheless, though active, and though novice
was ever laid to his charge, he, from some cause unexplained, put
an end to his existence, in 1743, at his house in Warner-Street,
Cbldbath- Fields. The precision of this date invalidates, obsen^es
Burney, the claims made by his son, on the ground of his father
having composed ' God save great George our king ' at the time
of the rebellion in 1745.

ON THE SCHOOLMASTERS* VOCAL FESTIVALS

IN GERMANY.

(From the Allgemeine Musikalische Zeitung.)

Thb Schoolmasters' Vocal Festivals, as they have now been cele-
brated for several years in various parts of Grermany, are not

only remarkable on account of their novelty, but calculated to be
productive of the most important results. The object of these
is, to execute musical compositions written for male voices only»
Choruses for men exclusively, in the advanced state of cultivatioa
in which they are now to be met with in Switzerland and Ger-
many, are in themselves new. Twenty years ago there was little
music of the kind, except drinking songs, serenades, and the
like ; but we are now already in possession of an abundance of
musical productions, embracing a class of works of the grandest
character. Gottfried Weber has furnished a Requiem &r men*8
voices; Hasslinger, two masses; Lowe, an oratorio; to say
nothing of Bemhard Klein's celebrated masterpieces, which ap-
peared in Berlin, under the simple title of Keligiose Gesdnge
(Religious Songs). There exist also, in manuscript, some ex-
cellent sacred compositions by Schicht, Drobisch, Bergt, and
others, choruses of men, which it is to be hoped will shortly
be available, through the medium of the press, to the whole
musical world. Very valuable collections of vocal compositions^
of a lighter character, for men's voices, have been furnished by
Nageli, Hientzsch, Bergt, Fr. Schneider, Miihling, Schartlich>
Erk, and others. And how gratefully have these contributions
been received ! How numerous are the Societies of the above
description which have risen into existence in Grermany, under
the greatest variety of names, within the last ten or twenty years !
And how shall we sufficiently commend the zeal which animates
these societies, particularly the meetings of the schoolmasters ia
Saxony and Prussia, where the individual members travel leagues,
in all varieties of weather, to improve themselves in the art of
singing ; and this not merely once or twice, but regularly, from
month to month, throughout the year ! It is this love of the art,
then, which constitutes the firm basis of such vocal festivals, and
excites a hope that they will gain ground, and constantly increase
in excellence. Who can be insensible to the importance of these
festivals ? Important they certainly are, not only to those who
join in them, but also to the whole mass of the people ; for it is
obvious that the advancement of the instructors of liie people
in the cultivation of the art of singing must exercise a direct in-
fluence over the youth of the community. The time is not far
distant when truly edifying singing will be heard in all the
churches ; when the more exalted national song will rapidly ad-
vance ; when Germany will be ' a singing land.* But those
also of maturer years of the present generation are no less affected
by the gratifying influence of the Scnoolmasters' Vocal Festivals,
for now, indeed, the opportunity is afforded of hearing not only
much more, but far better vocal music than formerly. In small
towns, even in villages, where formerly scarcely any singing was
to be heard, but that of some youthful choristers supported by
the solitary matured voice of the precentor, we may now listen to
choruses of three hundred vocal performers. Hearers flock to
these festivals, from far and near ; even the^commonest people do
not remain away, — for the price of admission is a mere trifle —
and thus the minds of many thousands are awakened to the
charms of song, to which they had otherwise remained strangers.
The effect, indeed, that may be produced by three hundred men's
voices in well-practised chorus, especially when supported by a
proportionate number of trombones, may be considered as the
grandest that music is capable of producing. The Schoolmasters*
Vocal Festivals, therefore, are highly important, as tending
directly to national cultivation in the art, and on this account
claim the attention of all who are zealous for the promotion of
the greatest objects of music.

Musical Reminiscences of the Earl of Mount Edgcumbe,
{concluded from our last, p. 113, Vol. I.)

The noble writer, from whose entertaining and useful work we
have already made such copious extracts, speaks of the most
renowned singer, if not the best, that Europe ever yet had to
boast, in very just terms. The reader will observe that what is
said was written some years ago, before the performer in question
had retired &om public life.

* The great* the far-fiamed Catalam supplied the place of both, [Bil-
lington and Grassini,] and for many years reiffned- alone, for she would
bear no rivaU nor any unger sufiBciently good to divide the ajpplause.
Of this celebrated performer it is well known that her voice is of a most
uncommon quality, and capable of exertions almost supernatural. Her
throat seems endued (as has been remarked by medical men) with a
power of expansion and muscular motion by no means usual, and when

B 2

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she throws out all her voice to the utmost, it has a volume and strength
that are quite surprising, while its agility in divisions, running up and
down the scale in semitones, and its compass in jumping over two
octaves at once, are equally astonishing. It were to be wished she was
less lavish in the display of her wonderful powers, and sought to please
more than to surprise; but her taste is vicious, her excessive love of
ornament spoiling every simple air, and her greatest delight (indeed her
chief merit) is in songs of a bold and spirited character, where much
is left to her discretion (or indiscretion), without being confined by the
accompaniment, but in which she can indulge in ad libitum passages
with a luxuriance and redundancy no other singer ever possessed, or if
possessing ever practised, and which she carries to a ftmtastical excess.
She is fond of singing variations on some known simple air, and latterly
has pushed this taste to the very height of absurdity, by singing, even
without words, variations composed for the fiddle. This is absolute
nonsense, a lamentable misapplication of that finest of instruments, the
human voice, and of the delightful faculty of song. Whenever I hear
such an outrageous display of execution, either vocal or instrumental, I
never fail to recollect and cordially join in the opinion of a late noble
statesman, more famous for his wit, than for love of music, who, hearing
a remark on the extreme difficulty of some performance, observed, that
he wished it was impossible.

' From what has been said, it may readily be conceived that Catalani
has a bad choice in music, and that she prefers the compositions of
inferior masters, written expressly for herself, to the more regular of
better composers. She found one here precisely to her taste, in Pucitta,
iivho had been successful in two very light, but pleasing comic operas.
Him she employed to compose for her several serious, to which he was
unequal ; all of them were very moderate. La Vestale the best. She
performed however in many others ; Semiramide, by Portogallo, which
she chose for her debUly but it was very inferior to Bianchi's ; Mitridate,
Elfrida, and, much to her dissatisfaction, La Clemenza di Tito, for she
detested Mozart's music, which keeps the singer too much under the
control of the orchestra, and too strictly confined to time, which she is
apt to violate. Yet she first introduced to our stage his Nozze di Figaro,
in which she acted the part of Susanna admirably. In the Orasj, she
peHbrmed the first soprano's part of Curiazio, that of the first woman
being filled by Ferlendis, a nretty good actress, at that time first bufia.
But she totally disregarded the general effect of an opera, and the cast
of all the other characters, whatever might be the disadvantage of it to
the other performers, if she was indulged in her whimsical choice of parts
for herself. Thus in Didone, she caused the part of Enea to be done by
Madame Dussek, who had neither voice, figure, nor action for the cha-
racter ; and in another opera she made Madame Dussek act the first
woman's part, choosing for herself that of the first man.

* Latterly she assumed also the place of first buffa, and succeeded
equally well in that line. Indeed sue gave me more pleasure in the
comic than the serious operas, as she sung with greater simplicity and
ease. In both, her acting was excellent : in the one, majestic, forcible,
and expressive ; in the other, natural, playful, and genteel. Her face
and figure were suited to both ; for she is very handsome, with a coun-
tenance peculiarly fine on the stage, and capable of great variety of ex-
pression# Though the outline of her features is decidedly tragic (almost
Siddonian)^ yet she can relax them into Uie most gharming smile, and
assume the character not merely of gaiety, but even of niaiserie^ and of
arch simplicity ; so that her versatile powers fit her for every style.
With all her faults therefore (and no great singer ever had so many)
she must be reckoned a very fine performer, and if the natural powers
with which she is so highly gifted were guided by sound taste and judg-
ment, she might have been a perfect one.*

The opinion entertained by so good a judge of the great mu-
sical idol of the day — though in the fashionable circles his day is
almost past — will be listened to with respect by all parties.
Speaking of Rossini, Lord Mount Edgcumbe remarks, —

* That he is possessed of genius and invention cannot be denied, but
they are not guided by good taste, and may be deemed too fanciful :
neither are they inexhaustible, for he is so rapid and so copious a writer,
that his imagination seems already to be nearly drained, as no one is so
great a plagiarist of himself. His compositions are so similar, and bear
so strong a stamp of peculiarity and mannerism^ that while it is impos-
sible not to recognise instantly a piece of music as his, it is frequently
difRcult to distinguish one from another. At least I frankly confess my
inability to do so, and that very few of his compositions remain in my
memory. This great sameness is of course augmented in no slight
degree by the style now in vogue. If a single piece of music (or what
is to be considered as such) is to contain as many different subjects as
would make three or four, the composer's imagination must be wonder-
fully fertile indeed if the same ideas did not often recur, as the demand
for new is at least quadrupled.

* Of all the operas of Rossini that have been performed here, that of
La Gazza Ladra is most peculiarly liable to all the objections I have
made to the new style of drama, of which it is the most striking ex-
ample. Its finales, and many of its very numerous pezzi conceriati are
uncommonly loud, and the lavish use made of the noisy instruments

appears to my judgment singularly inappropriate to the subject, which,
though it might have been rendered touching, is far from calling for
such warlike accompaniments. Nothing can be more absurd than the
manner in which this simple story is represented in the Italian piece
(taken, as well as the English one on the same subject, from La Pie
Voleuse), or than to see a young peasant servant girl, accused of a petty
theft, led to trial and execution under a guard of soldiers with military
music. But this is a melodrama^ in which it is not merely allowable but
almost necessary to violate truth, nature, and probability. This can
have been done only to afford the composer an opportunity of indulging
his taste for the fortissimo.

•The opera of Tancredi is much liked by his admirers, and there are
certainly two or three very good and pleasing pieces of music in it ; but
when the principal, or at least the favourite, song of a first man of an
heroic opera is not only capable of being converted into a quadrille^ but
appears better adapted to that purpose than any other, all idea of its pro-
priety and fitness for its situation must be put totally out of the question.
Vet such is the case with the famous air, Di tanti palpiti, which, though
pleasing in itself, is composed extremely in the style of a real French
conlredanse. But not this only has been so converted ; half of Rossini's
operas are turned into quadrilles ; nay even Mos^. in Egitto, a sacred
oratorio. Were it possible so to convert Handel's, we should deem it a
profanation. But what shall we think of the judgment of that com-
poser who could set solemn words to music so light and trivial as to
allow of it ? I have often heard it seriously remarked, that his operas
sound best when thus performed without the voices. Strange' praise for
vocal music, which 1 have ever considered as the finest vehicle for
feeling and for passion, and as giving greater expression to words than
can otherwise be conveyed ; therefore when it is really good they must
be inseparably united. At the same time I must allow there is truth in
the remark, for Rossini gives so much importance to the orchestra, anct
so labours his accompaniments, that the vocal part is really often the
least prominent, and overwhelmed, not supported.

* The serious operas of Most^ in Egitto (performed here under the
name of Pietro L'Eremita) and Otello are much better than the former
which I have named, and contain some very fine pieces ; and I must
exempt from all censure his Turco in Italia, which is a light, lively, and
thoroughly pleasant opera buffa. The Barbiere di Siviglia, La Cene-
rentola, L'ltaliana in Algeri, and Elisabetta, have also been performed,
the first with success, the others with little or none.

' So entirely did Rossini engross the stage, that the operas of no other
master were ever to be heard, with tlie exception of those of Mozart, and
of his, only Don Giovanni and Le Nozze di Figaro were often repeated.
La Clemenza di Tito was occasionally revived, but met with less suc-
cess. It is singular how every other composer, past and present, were
totally put aside, and those two alone named or thought of.'

With much of this we agree; but not in the strictures on La
Oazza Ladra, which we have always reckoned among the chefs^
d^amvre of Rossini. The inconsistencies in it must be imputed to
the nature of the lyric-drama, and to the taste of the present age,
which requires, and will not be satisfied without, boisterous
orchestral accompaniments. In the comparative praise bestowed
on Otello we do not concur. That there are fine parts in it we
wilUngly admit, but how mixed up with the grossest absurdities!
The fact is, that the composer showed great want of judgment in
choosing such a subject for an opera.

Lord Mount Edgcumbe, though early initiated in the music of
the Italian schooF, and invariably a warm admirer of its masters,
is too well informed in the art not to value Mozart — who throws
all other dramatic composers at so vast a distance behind him —
as highly as every good judge estimates him.

' It is only strange,' says Lord Mount Edgcumbe, * that though he
has been so long dead, his works should have been but so lately known
and performed in this country. Of their beauty, their originality, their
infinite variety, and scientific excellence, there can be but one opinion,
though by some his style may be thought not quite so agreeable as that
of some of the excellent Italian masters whom I have had occasion to
name. It may at times have a little too much of the German manner,
as many of his operas were composed for his native language and Ger-
man singers. But his genius was not only original, it was inexhaustible;
his productions are full of diversity, and all possessed of intrinsic merit.'
The frippery and meretricious style of ^modern music is to the ear like
tinsel to the eye, brilliant, striking, for a moment perhaps captivating,
but it will be transitory, and speedily lost in the fluctuations of taste ;
and I think I may venture to predict that Rossini will not long have
ceased to write, before he will cease to be remembered, and that his
music will be thrown aside, as that of so^many of his predecessors and
superiors already is : while the name of Mozart, with those of his two
great countrymen, Handel and Haydn, will live for ever, and his compo-
sitions, like theirs, descend as sterling gold to posterity, and be listened
to with delight in all times and in all places, so long as the natural taste
and feeling for music, common to man in all ages and situations, and the
love of its true genuine beauties, shall continue to exist.'

THE MDSICAL LIBRARY.

The noble author does not mention Mad. Fodor in encomiastic
terms : ' Her yoice had sweetness, but she injured and confined
it by not opening her mouth, and by singing through her teeth/
Of the elder Crivelli he speaks highly ; and of Ambrogetti says,
' He was indeed deservedly liked, for he was an excellent actor,
with a natural vein of humour peculiarly his own.' . . . ' He
acted extremely well, and in a manner too horribly true to nature,
in the part of the mad father, in Paer's beautiful opera of Agnese;
while that of the dauo^hter was delightfully sung by Camporese.'
Of the latter it is justly remarked, that her talent is of a high
order :—

* It was not till her first arrival in this country that she ever appeared

on the stage. Of her voice and manner it may be said, that

the former, if not of the very finest quality, is extremely agreeable, of
sufficient power and compass, and capable of considerable agility ; and
of the latter, that it is regulated by good taste, and is full of feeling and
expression.'

Speaking of our English music. Lord Mount Edgcumbe proves
that his taste is not under the control of fashion. Of our church
music he remarks : —

* In another style I think we greatly excel, namely, in our church
music. I have always been very fond of that of our cathedrals, which
is truly solemn and elevating, and better suited to aid devotion than
any other that I know. Tliat of the Italians is in general too light and
operatic (I except that of the Pope's chapel) ; and in all Roman Catholic
countries the introduction of an orchestra of stringed instruments
greatly takes away from the solemnity of the performance. The full
swelling tones of the sublime organ should alone be heard, as in ours.
With that sole accompaniment, our English services, well performed,
are to me of the finest description.'

Of our truly national music. Glees, the noble critic thus im-
partially, and free from the prejudices of too many of the habitues
of the Opera, thus expresses himself :—

* There is another species of composition more peculiarly our own,
and which I should call our only national music ; I mean our glees,
which differ firom anything I ever heard, and in their style cannot be
excelled. Their harmony is so full, rich, and melodious, when executed,
as they long were by the Messrs. Knyvett and the other performers
accustomed to sing them together, that they completely gratify the ear ;
and he must be indeed fastidious, or greatly prejudiced, who cannot
receive pleasure from their performance, i do not know of any female
singer at present who has exclusively devoted herself to this kind of
music, but there have been several ; and none who do not keep solely to
it can execute them with equal propriety. If the leading voice permits
itself to wander from the strict melody of the air, in order to show
graces or agility, as is too frequently the case when singers accustomed
to other styles are called in, the effect is injured instead of being im-
proved, as the great beauty of those compositions is derived from the
complete union and equality of all the voices, none preponderating, and
from the simplicity of their execution. They then produce the effect of
full chords struck on a finely- toned organ.'

In a Supplement to the first edition, the noble writer mentions
various singers who appeared from the year 1824 to 1828 ; does
justice to the powers of Mesdames Ronzi, Pasta, and Vestris ;
, speaks in high terms of Madame Caradori, and of Signor Velluti,
admitting that the voice of the latter was not aCTeeable. But a
mistake occurs here ; Velluti did not chuse the fine opera II
Crociaio in Egitlo for his debut; on the contrary, he made a

Seat struggle to be allowed to appear in the feeble work of
orlacchi, Tebaldo e Isolina ; but the director, knowing the un-
fitness of the latter opera for the occasion, peremptorily refused
to consent to its performance. This was produced the following
year, and completely failed.

Lord Mount Edgcumbe points out most distinctly, and in very
forcible terms, the bad system now prevailing in the management
of the King's Theatre, by which the performances are deteriorated,
while the subscriptions are exorbitantly high. ' The whole sys-
tem,' it is most truly stated,

* is radically bad ; and nothing can restore the Opera in this country to
its former respectable and agreeable footing, or the performances to that
excellence which a public paying so dearly has a right to expect, but a
total reformation, an entire change of proprietors, of managers, of all
parties connected with the theatre, — I had almost said, hampered and
embarrassed as it is, of the theatre itself.'

The author, who has a perfect recollection of the famous com-
memoration of Handel half a century ago, in a second Supple-
ment enters into a full account of the Hoyal Festival in West-
minster Abbey- last summer. We are glad to perceive that our
opinion of those performances, of the preparations for them^ and

the manner in which they were managed, is, in nearly every
particular, corroborated by so unbiassed and able a judge. Tlie
noble earl humorously remarks on the pains taken to render the
conductor of these conspicuous to the company, * by an opening
left in the centre of the front seat, for no imaginable reason but
to exhibit the conductor's back to all the auditors.' He is not
less pointed on the introduction of the foreign system of conduct-
ing, by some one with a baton superseding m this. important
duty tne leader; nor does he overlook the failure on the late
occasion, in those great effects, by which every one was so power-
fully struck at the first commemoration.

Lord Mount Edgcumbe loudly laments, and with reason, the
want of such a singer as Madame Mara, at this festival ; but, at
the same time, shows that he is not insensible to the merits of
living performers. Of one of them he thus speaks : —

* I shall depart from the usual courtesy of giving precedence to the
ladies, and begin my enumeration with one who was decidedly the most
prominent amongst the vocalists. I mean Mr. Braham, who on this
occasion surpassed himself, and whose performance was really qiute
surprising. He has long been at the tiead of his profession as an
English singer, so \oxk^ that it is marvellous he can be so still. He is
now far advanced in hfe, and it is almost beyond my recollection when
I first heard him sins as a boy. Yet he retains in their fiiU extent all
his powers, without diminution or decay. His voice is just what it was
in his prime ; it is become neither weak, nor husky, nor tremulous, but
filled with its volume all the vast space with the finest effect. His
singing too was most excellent In my first account of him I gave
him credit for the ability always to sing well, and lamented his occa-
sional deviations from a good style. No such fiiult could now be found.
He now sung with the roost perfect taste and judgment throughout*
Nothing in partkular could be finer than his delivery of the very beau-
tiful recitative In Jephthah, ** Deeper and deeper still,'* as also of that
which opens the Messiah, *' Comfort ye my people.' *'

The noble critic then mentions, in flattering terms, Mesdames
Caradori and Stockhausen ; and notices, with a polite sneer, the
absurdity of bavinff had ' fifteen other female principals, the
names of most of whom were never heard of before, and very few
are likely to be heard of aeain.* He exposes the impropriety of
introducing the corm de Topdra, * not as a bonne boudie, but
as a sort of kore aeeuvree, which might have been very well
spared.'

But here we must conclude. The work we have thus noticed
is so interesting throughout, is written in so easy, gentlemanlike,
appropriate a style, that had we indulged our own inclination,
we should have extracted half its contents, for a more lively and
instructive volume, or better criticism, never yet appeared on the
subject of music.

VOCAL SOCIETY.

The first vocal concert for the present year, given at the Hanoyer
Square Rooms on Monday the 1 9th ult., commenced the third
season of this laudable society. It opened with a chorus, ' Hail !
bright Cecilia r from one of FurcelFs odes to the Patroness-Saint
of Music, which to our regret we were too late to hear. Attwood^s
lovely quartet, 'The harp's wild notes,' followed, and was suc-
ceeded by the very elegant aria, * II pensier sti negli oggetti/
from Haydn's Of/eo, to which Mr. Parry jun. did every possible
justice : it exactly suits his voice, a smooth baritone, and his style of
singing, which is gentle and graceful. The members now put forth
their whole strength in a five-part madrigal, by Wilbye, * The Lady
Oriana,' of the date 1598,. a beautiful composition, which was
loudly re-demanded from all sides of the room. A GraduaHe,
' Quodquod in orbe revinctum est,' for four voices, by Hummel^
exhibits all the characteristics of the composer, — rich harmony,
skilful contrivance, and good effect, but little of what is correctly
termed originality, either in design or in the manner of working
out a subject. It was sung in a steady, correct manner. Callcott's
charming and really affecting glee for six voices —

Soft and safe, though lowly, grave.

Fast o'er ihee my tears shall flow ; —
Only hope the hapless have.

Only refuge lefi for woe !

made a strong impression on the audience. Such music never
failf, if the hearers possess but a single spark of feeling.

After the glee a new candidate for vocal fame appeared, a
Miss Lacy, daughter of Mr. and Mrs. Lacy, who were so well
known to the musical world a few years ago. This was her first
public appearance^ and so far as we could form any judgment from

THE MUSICAL LIBRARY.

an attempt made in such a state of nervous irritation as the
debutante laboured under, she promises most favourably. Her
voice is clear if not strong, her intonation true, and her style that
of Mrs. Lacy, which was always delicate and pure. Ine aria
chgsen for the occasion, by Marliani, was not so judiciously
selected as could have been wished; it had nothing in it to con-
ciliate an audience — it offered the singer no assistance whatever.

The first three movements of a composition, new to this country.
The Christian's Prayer, by Spohr, were accurately executed ;
but the performers altogether did not seem to enter quite into the
spirit of the work r we must therefore hear it again, before we
venture to form anything like a decisive opinion on its merits.
A fantasia for the horn, by Mr. Piatt, was at least three times as
long as it ought to have been, whether as regards auditors or
performer. Towards the end, the fatigued player had nearly
lost all command of his instrument. When solos for brass in-
struments are introduced, — and now and then they may be
tolerated for the sake of an ingenious artist— they should be ex-
tremely short, otherwise all parties are alike sufferers.

A chorus, from Storace's opera, JlfaAmoucI, with which the second
act began, did not tell well, it wanted the scene. ' Nymphs of
the forest,* a four- voice glee, by Horsley, richly deserved the
encore which its intrinsic merit and manner of performance ob-
tained. Mr. Braham (whose appearance was loudly greeted)
sang a new scena, by Mr. G. A. Macfarren, and gave it all his

• powerful aid, but the singing alone made any impression. A
delicious madrigal of Luca Marenzio (1580), with EngUsh

* words judiciousfy set to it by T. Oliphant, Esq., delighted the
company by the beauty of its melody, and the ingenious manner
in which the parts are put together. It was, as a matter of course,

- immediately encored. The padlock quintet, ' Hm, Hm, Hm,'
from Mozart*s Zavberfl'dte, was well executed ; and a quartet,
made up of Ame's air, • If o'er the cruel tyrant, love,' harmonized,
with a second movement, by Bishop, was so much approved as
to be called for a second time. Miss Woodyatt then sang
Haydn's exquisitely beautiful canzonet. Sympathy, in a very
chaste manner. But this ought to have divicied the last three
concerted pieces, which, immediately following each other, pro-
duced too great a sameness of effect. The concert concluded,
at a very early hour, with The Vintagers' Chorus, from Haydn's
Seasons, the words to which Mr. E. Taylor has much improved
in a new translation.

The room was far from full, for the season is hardly yet begun;
and the elections not only keep many in the country, but have
put the public mind in a state of excitement not very favourable
to public places.

SOCIETY OF BRITISH MUSICIANS.
Judging from what has hitherto been produced "by this Great-
Britain-against-all-the-musical-world Society, we are not very
sanguine in our expectations that foreign talent is likely to be at
a discount in consequence of the rivalry here set up, or that it will
be at all depressed by its exclusion from these three-and-sixpenny
concerts. The composers in Germany and in France, who, by
our means, if through no other channel, have heard of the above
confederacy, seem unintin^idated by either its professional or nu-
merical strength. Natives of the former country who are settled
among us — ^the Cramers, the Moscheles, &c.— continue their
pursuits, apparently under no dread of being extinguished ; and
even most of the best composers of these very isles decline con-
tributing their works to the Society, though at the risk of being
anathematized by so mighty a union of Britannic Orpheuses.

That which looked most promising in the fourth concert, on
the 5th of last month, was the superiority of the most juvenile
composer over the others. Young Sterndale Bennett's new sym-
phony shows an active mind; the first movement is not only
clever as to contrivance, but evinces genius — original thought.
The minuet and trio are, it must be allowed, too much of a
colour; the minor is too prevailing; and the diminution of or-
<chestral power in the last movement is not only ineffective, but a
barren imitation of Mendelssohn, who makes his diminuendo al
fine answer a distinctly perceptible and good purpose.

Mr. Leoni Lee sang a new ballad by Mr. S. Nelson in a most
commendable manner. His good taste and musical voice contri-
buted more to the encore of this than the merit of the composi-
tion, which, however, is very graceful, though possessing no novelty
of character. A scena, sung by Mrs. Geesin, the composition of
Mr. C. Salaman, pretends to a great deal — achieves nothing

whatever. After this came a horn concerto, from the pen of Mr^
W. H. Keams, played by Mr. Catchpole. We expected some-
thing better from the composer, but never having heard of Mr.
Catcnpole before, cannot say that we felt any disappointment at
his performance. A scena from The Mountain Sylph — ^by no
means the best thing in the opera — ^was shouted out, with vast
pulmonic power, by Mr. J. O. Atkins. Then came a glee, written
by Mr. Walmisley for the Catch-Club prize, which, we surmise,
possesses certain latent prettinesses ; but an overwhelming piano-
forte accompaniment so entirely concealed any beauties it may
possess, that our opinion is founded on conjecture. Why do
not the managers of concerts at once interdict the use, or rather
the abuse, of an instrument in the performance of glees ? We
were somewhat surprised that the smgers were not provoked to
throw down their books on this occasion, and retire from the
orchestra. A spirited, clever MS. overture, by Mr. C. Lucas,
concluded the first part of the concert. The second opened with
a MS. overture by Mr. J. H. Griesbach, the whole of which we
are willing to praise for anything except originality. A song , by
Mr. C. Purday, sung by Miss Bruce, followed the overture, and
was itself foUowed by an encore, the best judges in the room
being evidently dissentients. The * ayes,' however, had it ; and
as our patience, which before had been put to a severe trial, en-
tirely deserted us at this repetition, we precipitately fled ; but not
till near eleven o'clock, at which time the greater part of the
second act was to come ! Verily, the subscribers have no right to
complain of a deficiency in quantity at these concerts, especially
when the friendly encores are taken into the account.

We feel very sincere regret in not being able to give a better
account of the fifth concert, on the 26th of January, than of that
we have above noticed, but the fact is, and it is a painful duty to
be called on to record it, that this last afforded a less favourable
prospect than the former, to those who expected any beneficial
results to flow from an association formed on such a plan. An
immoderately long MS. symphony, by Mr. T. Cooke, showed his
ability in imitating ; and an overture by Mr. Burrowes might have
been listened to with some satisfaction forty years ago, before the
musical public had heard the great works with which they are
now become so famiUar.

But the overture of Mr. Goss — ^which, by-the-by, we surely
once heard at a trial night of the Philharmonic Society — ^is a
work of great ability : had it been supported by only two or three
pieces of equal merit, we should have thought the evening well
spent. We hoped on the former occasion that we had heard the
last of Belshaxzar^s Feast, but were again visited by a portion of
it ; and to make the matter worse, it was sung in a way that
would not have been borne in a Margate Library. Of Mr. Bar-
nett's new and heavy song, the best part is the poetry, by Mrs.
Leoni Lee. A scena, ' The Guerilla Leader's vow,' we should
have thought too long, under any circumstances, but devoid of
any one agreeable feature or recommendation, it indeed proved
tedious. We were, however, pleased with a cavatina by Mr.
Clifton, set to the well-known passage in Twelfth- Niaht, * If
music be the food of love,' &c., and very delicately sung by Miss
M. Hawes. This was encored. A autntet, ' The Dirge of Ro-
sabelle,' by Mr. Horsley, was very long, and failed to produce
any effect.

Miss A. Pyne, a pupil of Mr. Cramer, performed a good
piano-forte concerto by Field, in a very charming manner, and
was most deservedly applauded. Not less favourably received
was a violin solo, on the fourth string only, composed and played by
Mr. E. Thomas, a pupil of the late Signor Spagnoletti. It is a
pity that a clever performer — for clever he is — should have spent
so much time for such a purpose; but so long as the public will
encourage exhibitions of this kind, so long will people be found
to exhibit. Why does not some enterprising genius advertise to
play on a single string, standing on a single leg ? There could
be no doubt of his success, if he were but moderately skilful; and
he would be handed down to posterity as the little less than god-
like person who had eclipsed the Signor Paganini.

After Mr. Thomas's solo, at nearly eleven o'clock, we, exhausted^
retired, leaving a vocal duet and an overture to those who, pos-
sessed of an enviable stock of patience, waited for the last note.

MADRIGAL SOCIETY.
Thb anniversary of this Society — a club, in fact, which has most
largely contributed to nourish a soUd taste for vocal music in this

THE MUSICAL LIBRARY.

country — was held in the great room of the Freemasons' Tavern,
on Thursday the 15th of last month, when not less than 150
amateurs and professors, being members and invited guests, were

5 resent. The party, according to established usage, sat down to
inner at five o'clock. Sir John Rogers, Bart., the President, in
the chair, to whom the society is mainly indebted for its present
h^hly prosperous condition. Himself a very scientific musician,
a composer of the first class in a particular line, he knows how to
bring and bind together the lovers of ancient music; and being a
very forcible, good speaker, with much wit and humour, he
keeps everybody and everything up to the true point ; there is no
delay, no flagging, neither dispute nor dullness where he presides ;
he makes aSl lively, all amicable, having constantly in view the
sreat objects of the society — good music and sociality, harmony
m the literal and metaphorical sense of the word.

The practice now established is, to sing * Non Nobis* after
dinner. The company then is divided into altos, tenors, and
bases, the sopranos, boys, having a table in the centre of the
room, at one end of which sits the Directory who gives the pitch
from a pipe, and the time by a baton. Music-books are dis-
tributed to parties of two or three, and all who continue at the
principal tables are expected to take a part. A separate table is
prepared for such as have no confidence in their vocal powers, —
the mere hearers, — at which they take their seats after the grace
is sung.

The following is a list of the pieces performed on the present
occasion, with tne names of the composers, and the dates of their
works. The figures indicate the number of voices for which each
piece is written ; that is, the number of parts : for at the meetings
of the Madrigal Society — and this is its peculiar feature, its most
valuable characteristic — ^there are several voices to every part.

Vo&ceg. Compoteni Date.

O clap your hands, l.t Part) . 8 . . O. Gibbons . . 1612.
God 18 gone up 2nd Part J

When Thoraha deliehts to walk . 6 . . T. Wkvlkbs • • 1600.

Sigh not, fond Shepherd . • • 5 • . O. Fbrrbtti • • 1580.

O sleep, fond fancy .... 4 •• J. Bbnnst • • • 1599.

Hope of my heart 5 . • J.Ward . . • 1613.

Almighty God 4 . • T. Fosdb . • . 1014.

Stay, limpid stream t • . 5 • . L. Marbmzxo • • 1680.

Laudate Dominnm • . • • 5 • • L. Bossi • • • 1630.

Smile not, fair Amaryllis • • . 5 . • G. Pmboni » • 1585.

Hard by a crystal fountain • • 5 . • T. Morlbt . • 1601.

Lady, your eye . . • . • 5 • • T. Wbblkbs • . 1600.

Lady, when I behold • • • • 6 . • J. Wii^yb • • 1598.

Cr fly not, Lore 5 . • T. Batbsoh • . 1600.

Fa la la (the Waits) • . . . 4 . . J. Satillb . . 1666.

Many of these were new to the majority of the company, and
all were most correctly performed* Some proved so enchanting,
that, contrary, we believe, to the standing rules, they were repeated
by desire of all present. The President's health was proposed,
which was another illegal act ; but all were accomplices ; and this
produced an eloquent speech, proving that the violation of a law
may sometimes have a beneficial result.

BIRMINGHAM TOWN HALL.

Two grand performances have taken place in this splendid
edifice, within the last month ; the first for the benefit of Mr.
Lloyd, who had sustained a heavy loss by the insolvency of the
contractors for the building. Mrs. Knyvett, Messrs. Vaughan
and Phillips were the vocalists, and Mr. Cramer led the band,
which amounted to near one hundred performers. The powers
of the organ, which is only now completed, were most ably deve-
loped by Mr. S. Wesley.

The second performance was that given annually for the benefit
of the aged and distressed housekeepers of Birmingham ; and
upwards of two hundred performers were brought together on this
occasion. The morning concert consisted of sacred music entirely.
In the evening a miscellaneous performance collected upwards of
three thousand auditors. Miss Lloyd, Miss Woodgate, and Mr.
Machin were the only principals, yet the net proceeds amounted
to the sum of five hundred pounds.

BEETHOVEN AND DUSSEK.
To the Editor of the Musical Library.
Sir, — ^I beg to say that I do hot at all agree with your correspondent,
S. E., concerning Beethoven's pre-eminence as a piano-forte writer. I
am acquainted with the sonatas he mentions, but can find nothing in
them at all comparable to the master-pieces of Dussek. The sonata in

c minor (Op. 3), by the former, which his admirers vaunt as so mas-
terly a work, is, I must humbly confess, quite unintelligible to me.
Not so, however, that really passionate flow of feeling, the Sonate Pa-
thStiquBf which is indeed lovely, but still does not come up to my beau
ideal of perfection. I vastly prefer that of Dussek in the same key,
one of the three dedicated to Clementi. Had Dussek written more to
please himself, and less for the gratification of an unintelligent public^
ne would have left all competitors at an immeasurable distance behind
him. As we find him, I know of nothing that comes near him in feeling,
variety, and science. As writers for the piano-forte. Hummel and
Kalkbrenner must, in my opinion, take the precedence of Beethoven.
The sonata in f minor (Op. 20) and the concertos in a flat and b minor
of the former, with the sonatas in a flat (Op. 40), in a minor (Op. 48),
and in f minor (Op. 56), and the concerto in d minor of the latter, are,
in my mind, superior to any of Beethoven's writings for the instrument.
Your correspondent somewhat rashly asserts, that ' It has been said of
Dussek's music, that, with all its originality and sweetness,! t is liable to
clog and pall on the feelings, from its mannerism and want of variety ;
an objection which is certainly founded on tmth, and which may possibly
apply in some remote degree to the parallel music of Haydn.'

• It has been said* — -by whom? — by your correspondent; — and, I
should imagine, by no one else ; unless, perhaps, by some imaginary
assertor, raised up in the writer*s mind during the period in which he
took so intense an interest in the argument he has advanced. I never
before heard of Dussek's * want of variety.' Variety and decided ori-
cinality are the chief features of his works. His invention seems incK-
haustible. Perhaps your correspondent may allude to his variations and
other minor works ; but we estimate a composer by his great, not his
smaller compositions. Nevertheless, in the latter I think he displays
much variety, and even in trifles excels every other master.

I esteem your correspondent for his attachment to the writings of so
wonderful a man as Beethoven, whose very name should render sacred
the most trifling effusions; but in expressing his admiration of one great
genius, he should not undervalue another ; or in the warmth of argument
make assertions that have no real foundation to rest on. If he is not
acquainted with the chef d*OBUvres of so fine a writer as Dussek, let me
respectfully recommend him to study them> and he will be amply re-
quited for all the time and labour he may bestow in attaining a mastery
over them. I am, vours, &c. &c.

J.W. D.

REVIEW.

An Account of the Royal Musical Festival held in Westminster
Abbey, 1834, drawn up from Official Documents^ by John Parry,
Honorary Assistant- Secretary to the Directors, 4to. (Cramer,
Addison, and Beale.)

The directors of the renowned Commemoration of Handel, in 1784,
thinking, most justly, that an account of so striking an event deserved
to be recorded by a pen equal to the occasion, engaged for the purpose
the services of a distinguished writer of that day, and, in selectmg Dr»
Bumey, made choice of one whose critical powers and literary attain-
ments eminently qualified him for the task. His work, now to be found
in every good library, is a lasting proof of the discrimination of those
by whose desire it was undertaken.

The directors of the late Royal Musical Festival, also desirous of
transmitting to posterity an account of the performances which took place
under their management, and, doubtless, after bestowing due deliberation
on the subject, pitched upon Mr. Parry as their historian.

Mr. Parry, a man not without some knowledge of the world, must
soon have discovered that the duty he had undertaken to perform would
prove of a very onerous kind ; more especially as it could not fail to
bring him into direct comparison with a writer so remarkable for lucid*
ness, for skill in arrangement, and for elegance of style, as Dr. Bumey.
Hopeless then, perhaps, of eclipsing the author of the History of the
Commemoration, and probably too modest even to calculate on rivalling
him, the Assistant Honorary Secretary steered quite a different course,
and, placing no reliance whatever on his own powers, has made up a
book of something less than seventy pages, by copying from the news-
papers all such accounts of the Festival as suited his views, by reprinting
the books of the words and list of the performers, together with all the
advertisements, &c., and by adding to these a statement, in one page,
of tickets sold, and one more of disbursements : also four or five other
pages of miscellaneouB matter, extracted from the Supplement to the
Musical Library^ from Crosse's History of the York Festival^ and from
the laws of the Royal Society of Musicians. But shrewdly suspecting
that the public might not be satisfied to pay half-a-guinea for mere
reprints of what they had already purchased, or had read in the daOy and
other papers, Mr. Parry has swelled out his thin volume by copies^ of
the tickets of admission, and embossed portraits of both their Majesties,
the latter of which are worked in with the dedication, somethbff in the
manner of the illustrative cuts in a child's story book, so that, wnen the
king is mentioned, ' here, my good little girl, you see him,' seems to be

THE MUSICAL LIBRARY.

said ; and when the queen's name is introduced, ' Here, my dear little
- hoy, you may view her,' is implied. All this is very considerate, and
manifests a most prudent and praiseworthy determination not to enter
into rivalry with Dr. Bum^. On the other hand, it may have
arisen firom a kindly feeling for the Doctor's reputation, which, as
regards his account of the Commemoration, might hy possibility have
suffered, had Mr. Parry brought in competition with it all the logic and
literature at his command.

With respect to the very copious extracts from the newspapers, it
must be remarked, that Mr. Parry has selected only the laudatory pas-
sages, and discreetly, if not candidly, suppressed all the strictures which
he might have found, in great abundance, in most of them. He has
not condescended to notice us at all, and as he makes no boast of im-
partiality, we do not blame him.

The volume is not devoid of discrepancies and mis-statements. In one
place the author, magnanimous, in despite of what has been proved, tells
us, tliat the account of the number of performers in the Abbey during
the later years of the former festivals is fabulous. Afterwards he finds
reason to believe, on the authority of an old performer, that by the or-
chestra having been carried higher up, and brought more out in front,
it was rendered capable of holding the numbers whose names are all
set down in the books printed at the time. In another page, it is dis-
tinctly stated that * the directors resolved to sacrifice a number of seats
when it was ascertained that the pillars in the Abbey would impede the
view of those who might occupy them.' We, ourselves, can bear
testimony to the entire inaccuracy of this assertion.

But our readers will now wish to see an account of the receipts and
payments.

RECEIPTS.

Rehearsal Hckets, 9,470 - - <£4,972 5
Two Guinea Tickets 5,353) , ^ ^^

One Guinea ditto 4,883] " ' /^*^^

Extra Tickets at Two Guineas, for
Dhrectors, and Dignitaries of the
Church - - - - .

The King's Donation

Total
DISBURSEMENTS.

21,341 7

147 11

21,488 18

525

22,013 18 9

Fitting up the Abbey.

Mr. Blors*8 account for erecting Boxes,
Galleries, Seats> Orchestra, Staircases,
Organ-front, Music-stands, Retiring-
rooms, Barriers, &c. &c. - -

Mr. Bradwbll's account for Fittings and
Decorations, including Materials, his
time and attendants ...

I>rugget

Total Fittings up, deducting ^^10 Is. lOd,
for Drugget, &c. sold

4,136 2

1,313 12

430 7

- 5704 6 1

ORCHESTRA.

Principal Vocal Performers, Semi-Chorus,

and Chorus .... 3786 4 6

Instrumental Performers - - - 2217 13 6

Erecting Organ, Printing, Copying, Hir-
ing Music, Porters, Door-keepers, &c. &c. 611 17 6

Total expense of Orchestra - 6615 15 6

MISCELLANEOUS.

Printing Books, Bills, Circular?, Tickets,.

Advertisements, Door-keepers, Female

Attendants, Ticket- takers. Messengers,

Postage, Stationery, Gratuities, &c. &c,

Deduct Books sold

Total Expense ...
In Treasurer's hands

Disposable Surplus

J. nil 13

498

613 13

12,933 14
80 3

9,000

9
3

£22filS 18

This surplus was, by his Majesty's command, equally divided be-
tween the Royal Society of* Musicians, the New Musical Fund, the
Choral Fund, and the Royal Academy of Music.

We cannot but be struck by the vast expense incurred in fitting up
the Abbey now, compared with the cost of the same in 1784. We make
full allowance for considerable difference in the price of materials and

labour ; but there is so enormous a disproportion between £b70i, the
present charge, and £1969, the charge at the Commemoration, — ^nearly
as three to one — that we can only account for it by supposing that there
must have been much done that did not meet our eye. llie dmgget
certainly was an expense not incurred in 1784 ; and of this it may truly
be said, that the effect of the whole band, vocal and instrumental, — that
is, compared to what it might have been — was sacrificed at a cost of less
thanj^500!

A still greater disproportion is observable between the payments to
the performers of 1784 and 1834. In the former year there were five
rehearsals and five performances, making ten days ; at least half of the
band, vocal and instrumental, was necessarily brought firom the country,
at, of course, an additional expense ; yet the whole charge under this
head amounted to only 1976/. ; while in the hitter year, for four re-
hearsals and as many performances, together but eight days, with a
band of both kinds, nearly all the individuals of which were resident in
London, the expense is swelled up to 6615/., or more than four times
(the difference in the number of days being considered) as much as
somewhat less tlian the same numbers cost in 1784.

The following is the letter — a fac-simile of which Mr. Parry gives-—
in which his Majesty issued his commands concerning the Musical Fes-
tival in 1834.

The King, conceiving the present year most proper for the Royal
Musical Festival, directs me Lord Chamberlain, or in his Grace's ab-
sence the Vice- Chamberlain, to communicate to the Earl Howe, as
chairman, the Earl of Denbigh, the Earl of Cawdor, the Earl of Bel-
fast, the Lord Burghersh, Sir Benjamin Stevenson, the Lord Saltoun,
Honorary Treasurer, and Sir Andrew Barnard, Honorary Secretary, his
desire that they should undertake the entire direction and management
as a Committee of Directors.

Windsor Castle,
March 2d, 1834.

To
The Lord Chamberlain,

or,
In his Grace's absence,

To
The Vice-Chamberlain.

(Signed) WILLIAM R.

The Kino.

4to.

The Musical Gem /or udcccxxxt., edited by Nichouls Mori.
(Mori and Lavenu.)

This is we believe the sixth year of the Musical Genty a collection of
light vocal and piano-forte music, calculated to please for a time, and
having nothing of permanency in its nature, gives way to greater
novelty, and would m soon forgotten, but for the portraits of singers,
&c. that ornament it, which are, most commonly, not only good Uke-
nesses, but well designed and ably lithographed.

The contents of the present volume are, — five ballads, three romances,
a canzonet, a song, a Swiss air, and a duet: eight rondos, waltzes, &c.,
and a set of quadrilles. The embellishments consist of portraits, most
striking resemblances, of Madlle. Giulietta Grisi, Signers Ivanoff and
Rubini, and two prints illustrative of the same number of romances.

A ballad. The Guide, hy Mr. S. Nelson, and a Swiss air, • Upon the
hills,' by M. Stockhausen, are faultless, though not uncommon. A bal-
lad, ' A beautiful rose,' by Mr. A. Lee, and * Sweet land,* by Mr.
£. Perry, have no pretence to novelty. In the latter is an instance of
false accent, at the word ' blue,' that even the engraver himself might
have been able to correct. Two romances, by M. Labarre, are very ex-
pressive; but we shall notice these in the following article. A romance,
by Mr. A. Wade, TAc fFarder and ike Knight, has a good deal of new-
ness in it : we should regret its brevity, but that it will very well bear
repetition. The song, * O ! lovely spring,' does not possess so much
originality as is always expected, — perhaps unreasonably often — from
the pen of M. Mendelssohn Bartlioldy. We would willingly speak
in commendation of a ballad, * There is an eye that sees thee,' by a
lady, but we can only say that it is free from errors in musical grammar ;
though not so guiltless in respect to the accentuation of the words. The
lovely heart, a ballad by Mr. L. H. Lavenu, has feeling, and promises
well for the future. In the sixth bar, page 41, the upper a flat in the
base should be an e flat : to this the preceding w ought to have fallen.
A duet, * Farewell, love 1 ' by an established favourite, Blangini, is an
exceedingly agreeahle conversation-piece, easy, and must please all, ex-
cept determined hypercritics. Mr. H. Phillips has been very successful
in a canzonet, * Mother ! dear motiier ! ' the words are remarkablv well
set, and there is much good modulation and character in it At the
bottom of page 16 is a passage which shows a boldness not very usual
in composers of telling songs. But Mr. Pliillips is a man of a vigorous
I mind.

THE MUSICAL LIBRARY.

The pieces for the pianoforte are of the easiest, not to say of a trifling,
kind. They are by H. Herz, Moscheles, Adolphe Adam, Hunten»
N. Mori, jun., and E. Perry.

A short biographical notice accompanies each portrait ; but no extra-
ordinary efforts seem to have been made to get at any of the facts usually
sought on such occasions. Madlle. Grisi, we are told, is now about
four-and-twenty years of age, that she is a niece of Mad. Grassini, and
early manifested a talent for music. Concerning Signor Ivanhoff the
writer has been somewhat more circumstantial. * The young Ivanhoff,
while yet a child, attracted much notice in his native country [Kalmuck
Tartary] by the superior quality of his voice ; and, from the early pro-
mise of future cYcellence, was regarded as a fit object of [subject for]
instruction, with the intention of appropriating him, on the completion
of his studies, to serve in the musical offices of the Greek church. [We
must leave the language to shift for itself.] With this view he was con-
fided to the care of a nobleman who happened, at that period, to be the
newly-appointed ambassador at the court of Naples, and who accord-
ingly included this youthful vocalist in his suite. On his arrival in that
city he was judiciously placed in the conservator iOy under the able tuition
of Mad. Mainviclle Fodor, who, being herself a native of Russia, was
the more, and indeed the only one, qualified, at so early a state of his
studies, to impart the first rudiments of the art to her young compa*
iriote* Here he remained till his twenty- third year, when he debuted at
the San Carlo in the part of Percy in Anna Bolena. The year after
he was engaged at the Th^&tre Italien in Paris, and at our Italian Opera
House a few months after. Thus his age may now be about twenty-
five.

> Signor Rubini was bom in 1795, of musical parents. At about
twenty years of age he made his first appearance in the Teairo del
Fiorentini at Naples. He was at Rome during the Carnival of 1819 ;
then returned to Naples, where he would have been assassinated, at the
instigation of a jealous Sicilian prince, but that one of the bravi recog-
nised in him a man from whom he had received kindnesses. He made
his debut in London in the season of 1831, as Gualtiero^ in // Pirata^
and repeated his profitable visits to this country in 1833 and 1834.

The Musical Amulet, A Christmas^ New Year, or Birlh*day Cside&u,
consisting of Songs, Ballads, and Nottumos, with French and Eng-
lish words by Theodore Labarre ; and Quadrilles and Waltzes,
hy Edward Perry. (Mori and Lavenu.)

So far as concerns the vocal part of this volume, it is a reprint of a
French work. The publishers have shown discernment in bringing it
out here, for M. Labarre is a man of a rich and lively imagination, not
one of the herd of imitators ; and in putting an English metrical trans-
lation under the original verses, a much wider circulation will be
secured : for though it is now the fashion to sing French romances, the
many still object to the language in connexion with vocal music.

The title-page of this work is not quite correct; we find four ro-
mances, a song, a chansonette, one ballad, a barcarolle, and a trio, but
no nottumo. The romance. Le Voyage du Klephie, (or The KLephVs
Voyage,) is bold and original ; its merits will only appear after acquaint-
ance. La Femme du Soldat is as singular as the preceding. The
first movement, in o minor, is all agitation ; the second, in the major,
a Prayer to the Virgin, is gentle and graceful; and the whole is
effective — almost dramatic. The third, La Fiancee du Klephte, is less
original than the rest ; it is rather d la Auber. Le Klephte poursuiviy
all hurry and bustle, will suit those whose spirits require rousing. La
Fille de rEmir is not so languishing, so oriental, as the title led us to
expect. But La pauvre Negresse is a short romance, in c minor,
tender and full of expression. Les Pecheurs des Lagunes (the Venetian
Fishermen) is in the true barcarolle style, but it has not the beauty that
Bome of these airs possess. The rhythm does much in this kind of
national melody. La Danse des, Esprits wants character. Weber is
the only modem who was initiated in the music of such personages.
Les Gondoliers Venetiens is a gay trio, with a free, brilliant accompani-
ment, and will make a good finale to a musical evening at home.

The quadrilles have melody to recommend them, which is saying
much in their favour. They are likewise easy ; this strengthens their
recommendation. The Zapateado may have been popular at the Opera ;
we discover nothing in it whatever. A bolero in o minor is better ; at
least it is characteristic.

The volume is enriched by lithographed prints, one to each vocal
composition, copied from the French work. There is also an embla-
matic title ; and the work is neatly bound in embossed cloth.

6. Hunting Song, and Glee, * Who's for the chase to-morrow?
do. do. do.

We have before us all the pieces yet printed of this very clever and
masterly, but ill-used opera. These, together with the remainder when
published, will prove, in the most unanswerable manner, how very
inadequately the work was got up ; for such music, the drama having
been quite as good as most works of the kind, could not have failed of
success — distinguished success — had the performance of it been at all
equal to its merits.

No. 1 ., an air in one movement in f, well expresses, in a smooth*
elegant strain, the sentiment of the poet. The accompaniment, which .
is quite in keeping with the melody, does not advance half-a-dozen bars,
before it is obvious that the composer is a disciple of the German school;
though we have met with nothing in the opera that leads us to suspect
him of any inclination to become an imitator of its weaknesses. This
runs rather too high for most soprano voices, and for general use the
key of E flat, or even n, will be found more convenient.

No. 2 is a lively and most agreeable melody in a, and within very mo-
derate compass ; the whole flows naturally, and if sung simply, with a
cheerful countenance, approaching to archness, it will not fail to please
all tastes.

No. 3 is, as a Bacchanalian song, a masterpiece. The melody is ex-
cellent, the accompaniment simple, occasionally quaint, so as to give it
a marked character, and there is something so perfectly eujoue, so
jovial, yet totally free from vulgarity, in the whole, that wherever
mirthful music and wine are found togethei: in future, this assuredly will
be one of the party.

No. 4, sung by Hermann (H. Phillips) when disguised as a friar, ia
quite equal to the preceding. Had this proceeded from the pen of a
Weber, it would have been pronounced a chef-d'ceuvre.

No. 5 is a battle-song in the true ancient spirit, therefore in a minor
key, A. Much is here made of a few notes : — great effect drawn from
very simple materials.

No. 6 is first a song, then a duet, and lastly a glee for four voices.
The subject is both pleasing and new, and most ingeniously conducted
through the three forms it takes. This we are told always obtained
one encore, and sometimes two, at which we do not marvel, for it is one
of the most engaging things of the kind ever written, and equally
adapted to the stage, the concert- saloon, or the drawing-room.

The above six compositions are all that we have received of this
opera. We hope to be enabled to notice the rest in our next, and
among them the concerted pieces, which are of a very masterly kind,
and highly creditable to the English school of music.

THE ENHARMONIC ORGAN.

A NEW and remarkably curious organ has just been built by Messrs.
Robson, for, and under the direction of, the inventor, Colonel Peronnet
Thomson, a gentleman well known for the variety and de])th of his
knowledge, the activity of his mind, and the usefulness of his labours.
His object was to form an instrument that should be in perfect tune, in
a certain number of keys, so as to avoid the necessity of any kind of
temperament. That he has succeeded in his wishes there can be no
doubt, though they cannot be carried into effect but at the cost of some
trouble to the performer. His principles and mode of practice are fully
developed and explained in the following paper, written by himself, with
that clearness which distinguishes all that has ever proceeded from his
pen.

The Enharmonic Organ has only three stops — two diapasons and a
principal ; but there are twenty-nine pipes in each stop to every octave,
and three rows of keys of four octaves each. The instrument is twelve
feet high, six broad, and three deep.

1. Air, The grateful Heart, in the Grand Opera of Hermann, or tlic
Broken Spear, performed at the Theatre Royal, English Opera House ;
Composed by John Thomson, of Edinburgh. (Hawes.)

2. Song, * O dear! what a terrible eye ;' do. do. do.
8. Drinking Song, * Ftll high !' do. do. do.

4. Song and Chorus, ' Behold me, a Friar equipped ;' do. do. do.

5. Battle Song, * Once more I brandish sword and shield ,* do. do. do.

^ This attempt at obtaining correct harmony is based on the observation
or discovery of the duplicity of the dissonances; by which is meant
that the dissonances (the major and minor seventh and major and minor
second, so called in contradistinction to the thirds, fourth, fifth, and
sixths, which are the consonances) are double^ or have each two forma^
differing by Uie small difference called a comma, and which make just
concords with the consonances alternately, — that is to say, the acute
form makes just concords (whenever the interval is not less than the
least of the intervals that make a concord at all) with the thirds and the
fifth (odd numbers), and the grave with the fourth and the sixths (even
numbers). The exactitude of this is easily ascertained by any person
familiar with the calculation of musical ratios.

* Instead, therefore, of trying to get rid of the difficulty by mincing up
this perplexing comma among the various notes, to the destruction of
the purity of all, as in One way or other is the object of everything that
has passed under the name of temperament, the more reasonable process
would appear to be, to endeavour to execute the proper form of the dis-
sonance in the proper places, as may be suspected to be already done
by performers on unfettered . instruments, such as the voice and viol
kmcL

THE MUSICAL LIBRARY.

It has been noticed, by muBicians, that ungers, in singbg the descend-
ing scale, make the second grave (that is to say, graver by a comma
than they make it in some other circumstances). Now, what can be
^e cause of this, except the desire to make a just concord (minor third)
with the last sound capable of a concord that has preceded, viz., the
fourth ? And, d fortiori^ if the singer was executmg the second in a
dnet, where another performer was at the same time executing the
fourth, would he not execute the grave second, which makes a just
concord, and not the acute second, which does not ? And may it not
in like manner be concluded, that, if the second had to be executed in
conjunction with, or sequence to, the Jifthj it would be made the acute
second, and not the grave ? By applying the same theory to the other
dissonances^ a generiu rule appears to arise for the determination of the
form of a dissonance.

* If it is demanded why the dissonances should be moveable and not
the consonances ?— it is because the 1 ast are the closest and most important
relations of harmony, and the others the more remote.

* But a question which will present itself in this place, is, what u to be
dione with chords which present a dissonance in company with two con-
sonances, with both of which it is impossible for it to agree ; as for
instance, with the third and fourth, the fourth and fifth, or the fifth and
sixth? Are such occurrences to be considered as what a herald would
call canting harmony ; or are they admissible by altering one of the
consonances by the magnitude of a comma, as there can be little doubt
is what wouki actually take place if performed on unfettered instruments
like the voice and violin ? To urge that the difiiculty may be got over
by the use of a tempered system, is like urging that a profile may be
made to resemble two individuals at once, by drawing a line intermediate
to the just profiles of both ; whatever is gained in the direction pro-
fessed, being at the expense of what makes the portrait valuable at all.

The Normal Scale.

* It has long been familiar to theoretical.musicians, that when the oc-
tave is divided into fifty-three equal intervals (as is easily done with^the
ud of logarithmsV each of the sounds which constitute correct harmony
as deriv^ from tne simplicity of ratios, approximates in a remarkable
manner to some or other of the sounds in this scale of 53. The circum-
ference of tl)e circle is consequently divided into 53 equal parts; where,
as may be seen upon inspection, each of the divisions of correct harmony
coincides, within a distance inappreciable by the eye, thongh capable of
being made the object of arithmetical measurement, with some one or
other of the divisions into 53. If then the numbers thus attached to the
several divisions of correct harmony be committed to memory and
called their indices^ it is plain that by the addition or subtraction of the
numbers in what may be called the Normal scale thus, constituted,
a close approximation may at all events be made to the magnitude of
the interval between any divisions fixed, on. For example, if it was
required to know what is the interval between Uie major third and
major sixth ; by subtracting the indices one from the other, 17 from
39 leaves 22, which (as being the inilex of the fourth) is evidence that
the interval is at all events something very near to a fourth. Or if
instead of this it had been wanted to know what sound was arrived at
on taking a just ^fourth above the major third ; by adding 22 to 17,
the sum 39 would indicate that the sound arrived at was at all events
something very near to the major sixth. And tlie same in any other
cases ; for convenience casting out 53 when it occurs, or, which is the
same thing, beginning again at 0. But the fiict which is of importance
to the musical inquirer, is that, all the indications derived from this
employment of the indices are not only approximately but accurately
true of the correct divisions ; and this not only in a single key, but to
an extent which it is difficult to exhaust, in the complications which
arise from beginning the calculation of the harmonical divisions from one
of the previous divisions as a new starting-tpoint, which is what consti-
tutes a change of key.

' Description of the Instrument.

* To begin with the lowest finger-board, which presents the key of c.
The c, which Is the key-note, is distinguished by bemg red. The dis-
sonances (ob and n, sb and b) have each two finger-keys; and because
it appears from experience that one of the forms is of more frequent
occurrence than the other (being the form most remote from the centre
of the octave, or nearest to the neighbouring key-note), advantage is
taken of it to give to this form the same place as in ordinary instruments.
The acute forms of the dissonances are all coloured white^ and the grave
black ; the thirds and fifth of the key being at the same time made white,
and the fourth and sixths black. Hence, as a general direction, the
dissonance only requires to be taken of the same colour as the note with
which it is required it shoukl make a just concord.

*• Between the fourth and fifth (or in the place usually occupied by
rfi) is placed a note which makes wliat is called the tritone to the key-
note ; being a major third above the acute major second, and a fourth
below the acute major seventh. Its index in the Normal scale would
be 26 ; and it presents the just rH demanded on the occurrence of that
most ordinary of all changes of key, the change to one sharp more. And
because it is found always to make just concords with sounds coloured

white in the preceding arrangements, it is itself coloured white. In the
calculations which follow, the index 26 will be inserted in its place in
the Normal scale,

* Certain additional finger-keys on this and the other boards, bearing
a resemblance in shape to the keys of a flute, will, for the present, be
taken no notice of.

* The second or middle finger-board presents the key of o, or the sounds
formed by commencing the harmonical division on the ^fth of the pro-
ceding key of c. To calculate which, add each of the numbers of the
Normal scale to 31 the index of the fifth (casting out 53 as before men-
tioned), and the result will be as follows : —

To 31.
Add 0, 5. 6, 8, 9. 14, 17, ». 86 (Tritone), 31, 36, 39. 44. 45, 47, 48, 63.

MakM 31, 36, 37, 39. 40, 45, 48. 0. 4 (Tritone). 9, 14, 17. S9. 83, 26, 86. 31. .'

In which such numbers as are found in the Normal scale indicate the
recurrence of the same sounds as in the key of c, and the others indicate
new sounds, which must be supplied by calculation. The construction,
colouring, &c., of the fiuger-keys, are relatively the same as in the c
board.

* The third or highest finger-board presents the key of e, or the
sounds formed by commencing the harmonical division on the Major
Sixth of the preceding key of o, or (which is the same thing) on the
Major Third of the primary key of c. Add, therefore, each of the
numbers of the Normal scale to 17, and the result will be

17, 88. 83. 85, 26. 31. 34. 39, 43 (Tritone), 48, 0, 8. 8, 9. 11, 18. 17.

In which such numbers as appear neither in the key of o nor c, indicate
new sounds, which must be supplied as before. The construction*
colouring, &c., of the finger- keys, are relatively the same as in the other
boards.

* On the same principles are to be traced the additional sounds wanted
to complete the other keys furnished by the instrument, and which are
to be executed by means of the flute-like finger-keys formerly mentioned.
These additional keys, however, are not all so complete as the three
principal ones of c, q, and e ; often wanting some of the least usual
forms of the dissonances.

' In the c board, with the addition of one finger-key (a grave a), are
presented the key of p, wanting the mmor seconds, and the grave forma
of the minor and major sevenths ; and the key of xb major, complete
throughout.

< In the G board, with the addition of two finger-keys (an acute c
and an acute s), are presented the key of o, wanting the acute minor
second, and the grave major seventh (to be found, however, in the b
board) ; and the keys of sb major and Bb major, complete throughout

* In the E board, with the addition of three finger-keys (an acute At
a grave b, and an acute ct(), are presented the key of a, wanting the
grave minor seventh (to be found however in the c board), and the
grave major seventh; and the key of b, wanting the acute minoc
second (to be found however in the a board), the grave major seventh,
and the tritone.

* The instrument, therefore, with the reservations now or hereaftet
stated, presents the power of playing in any key firom four Flats to five
Sharps, both inclusive.

* The sounds contained in one octave, with the boards on which they
are found, may be collected firom the following table :

Bond in

Name of

Nmnberintho

MeuQz^e.

which ftxrnd.

Note.

Normal scale.

C O E

Oor 53

.987654320

c<^

,96

G E*

,9481

V\^

,9375

,9259:^5

C 6E

G 6 £

,^lff

D«^

,864

,853?

,83?

C GE

,790123456

CGE

,75

G E

,740740

Flt>

.72

CGE

F»

.71T

,675

CGE

,6-6

G«

.64

C G

Ab^

.625

Ab'

,617464^50

CGE

GE*

,592592

A»

,568H

B^^

,5625

C G

Bl^

,615

C E*

*^K

CGE

,58?

CGE

63 orO

,6 Octave.

THE MUSICAL LIBRARY.

* The mark * indicates the small finger-keys which are found in addition
to those of the double dissonances. In the column of measures a line
drawn over any number of figures, indurates that those figures form a
perpetually-recurring decimal.

*The compass of the instrument is four octaves, from gamut q to e in
alto ; with three stops, open diapason, stopped diapason, and principal.
The whole number of pipes consequently is a little more than in an
organ of the same compass with seven stops on the ordinary construction.

* If called upon to defend the propriety of the title ** Enharmonic/'
xeference must be made to the ancient Greek remains on music ; where,
though it cannot be denied that they are in some respects fragmental and
diqointed, the bearing of the whole is to show that the essence of what
the ancients called the Enharmonic consisted in transferring the divi-
sion of the canon, as arrived at for a single key, to a variety of keys, by
beginning again on some of the previous divisions. Many of the acci-
dents attendant on this are described with an accuracy it would be vain
to seek in any modem writer. At the same time, the ancients appear
to have been shipwrecked by the grand misfortune of lighting on a
vicious division of the simple canon to begin with. After deducing the
fifUi and the fourth from the ratios of | and t,they unhappily attempted
to complete the division (see Euclid's " Section of the Canon") by
cutting off intervals equal to the great tone which they had thus disco-
vered, instead of taking the next simplest ratios of ^ and \y which would
have led them to the discovery of the major and minor thirds, and, by
analogy, the minor and major sixths ; a misadventure competent to
account for any quantity of failure, and for the neglect into which their
Enharmonic appears ultimately to have fallen. And the great mistake
of the modems on the subject of the Enharmonic, seems to have been
the mistaking what may be called the secondary intervals for primary.
Thus, when what is called tlie Enharmonic diens takes place (of which
a good example is found in the ninth and eleventh bars of Rossinfs air
of Deh ! calmd)y it is not that some outlandish interval is to occur be-
tween two successive sounds, but only that (for instance) b $ and c ll|,
in different places involving an intermediate change of key, differ firom
each other by about two-thirds of the just difference between a note and
its sharp or flat, in consequence of being both of them taken in the cor-
rect proportions.'

FOREIGN MUSICAL REPORT.

BERLIN.

The musical world began to grow lively towards the middle of October.
Mad. Erelinger gave a concert which introduced to the public Mile.
Clara Stich, her daughter, who gave satisfaction by her graceful person
and pleasing voice.

On the 1 9th of October Mad. Fischer Achten, whom report had
greatly landed, made her appearance as Donna Anna ; she has a fine
voice, but was deficient in the animation which belongs to this part.
She has subsequently performed Desdemona and Pamina with great
applause.

In the last week of October a concert d capella took place in the Vo-
cal Academy, whkh was of peculiar historical interest, as, in addition to
some excellent compositions by Fasch and Zelter, several vocal pieces,
of three older dates, by Jomelli, Rusenmiiller, and Gabrielli, were per-
formed. On the 24th, Mile. Stephan appeared in Spontini's opera of
Nurmahal. M. Pott gave a concert on the following day, which was
but thinly attended ; however the select few bestowed the warmest ap-
plause on that accomplished violinist.

A new singer. Mile. Bechaer, has lately been engaged, and made a
successful debut at the Konigstadt theatre.

LEIPZIG.

The Subscription Concerts for 1834 began in September last They
opened with Mendelssohn-Bartholdy's overture MeeresstilU und gluch*
liche Tahrt Ta calm sea and prosperous voyage), which met with such
approbation that it was repeated at the following concert. Mad. Schmidt
(an addition, and the only important one, to our company) sang an air
firom Spohr's Fatuly the Swiss boy with variations by Pixis, a scene and
aria from the Donna del Lago^ a terzet from Sargino (with M. Schmidt,
a young tenorist^ and M. Bode), and a duet from Mercadante's Elisa
e Claudio (with M. Bode), and met with her accustomed applause.
Mile. Grabau, our other principal female singer, sang to an approving
audience a scene and aria from Mercadante's Nitocri, a duet from
Shabran's Mathilde (with M. Bode), and a scene and. aria firom Cosi
fan tutu. M. Ulrich, by the execution on the violin of a concertino
by Kalliwoda, showed the great progress he had made since the former
year, and drew down tumultuous applause. The celebrated flutist, M.
Grenser, successfully went through a rondeau by Keller ; and M. Carl
Lotze of Berlin, a young and hopeful player, was, after the skilful
performance of Beriot's Op. 15, encouraged to cultivate his talents by
a discerning public.

Hie town was delighted at the arrival of the celebrated MM. Fr.

Schubert and Frdr. Kummer, who made their appearance at an extra
concert on the Srd of November. Each of them perfinrmed a bravufB
solo of their own composition; Mile. Clara Wieck played Chopin'a.
well-known variations on La ci darem^ and at the close MM. Schubert
and Kummer played a duet of their own on the violfn and violoncello^
unaccompanied by the orchestra. Nothing can be conceived more per-
fect than the execution of the two kapellmeisters.

Lobe's ffrand opera, The Princess of Chranada^ has been produced
here with uie most brilliant success. On tlie first and third nights, the
composer, who had conducted on these occasions, and the nianager, who
had got up the piece in the most magnificent style, were called for re*
peatedly. The vocal and instrumental performers executed their parts
in a very first-rate manner. A song in the fourth act was encored
every night.

WEIMAR.

Gdtze^s opera, Der OaUego^ has been produced, and caused different
opinions among the cognoscenti, some regarding it as a delightful com-
position, and others as exceedingly flat and heavy. The public have^
at all events, bestowed their applause, but this, say the opposition, ia
chiefly because Gutze is music-director at Weimar. ' For the benefit
of those who like to know the meaning of titles, we beg to say that a
* Gallego' is a poor Portuguese mountaineer, answering somewhat to the
Lazzaroni in Italy, and l£e Savoyards in France.

VIENNA.

A maiden opera has been performed at the Hofopfern theater. It is
called Rafael, and is by M. Telle, a pupil of Cherubhai. Considering
it as a first effort it is meritorious, but we must regret that a better sub-
ject was not selected. The audience were kept in good humour, and
the composer, who had conducted, was repeatedly called for at the close
of the opera.

KONIGSBERG.

On the 12th of October the Protectorate devolved upon Dr. Gebser, to
celebrate which a solemn festival was held in the church. M. S&mann
with a numerous body of'vocal performers, chiefly students, executed
several solos and choruses firom Schultz's hymn, Gott JehovOy &c.
The correctness of the performance, and the imposing effect of a well-
filled chorus of male voices, insphred the audience with devotion and
delight, and, in a manner at once edifymg to hearers and performers,
proved the utility of the students receiving vocal instruction. M.
S&mann designs next spring to institute an East Prussian Musical
Festival.

CHEMNITZ.

A festival of the male singers under the direction of M. A. H. Stahlh-
necht was held on the 19th of October. The choruses met with the
most vehement applause, and though the quartets were not executed so
well aa might be, they on the whole obtained every indulgence firom a
delighted public. The following festival several songs, composed for
the occasion, were sung alternately with the choruses. M. Stanlfanecht,
the manager of the festival, invited those present to form a local
union of male singers, to which all agreed. The union is daily in-
creasing, both in this and the neighbouring to\vns. Next summer a
second vocal festival is to be held in the new church.

NORDHAUSEN.

On the 15th of October, the subscription concerts began under the direc-
tion of M. Surge!, the music-director. They were held in the theatre,
and drew both great and deserved applause.

STUTTGARD.

The vocal union gave a welcome to the admirers of nature, on the
evening of the 22nd of September. The beautifully situated Weissen-
burg was the selected spot, the singers arranging themselves in the
great hall. At six o*clock the male chorus began with a song com-
posed for the occasion. After this they sang sometimes separately,
somethnes in concert with the Female Vocal Union, and occasionally
some quartets were introduced. The garden was illuminated at night-
faU.

BRESLAW.

A large concert (the performers were 400 in number) was held for the
benefit of the Sick Musicians' Fund, on the 24th of October, under the
direction of MM. Siegert, Kahl and Schnabel, and went off with sur*
prising eclat. Great as the attempts were (Beethoven's Sinfonia Eroica
and the Kyrie and Gloria from that composers mass, Op. 123), in like
proportion was the glory attained by a correct and energetic execution.
Between the pieces we have named, the celebrated organists MM.
Hesse and Kohler performed in a masterly manner pieces of their own
composition. The concert waa well attended.

BRUSSELS.
The minister of the home department at Brussels has presented M.
Pellaert with a golden medal of 500 francs' value, to testify his approba-
tion of that gentieman's music to FausL

THE MUSICAL LIBRARY.

PARIS

The conduct of Paganini at this capital has drawn down the most
violent indignation from the Parisians. He refused to play for the
benefit of a charity, and was in consequence so vehemently attacked by
M. Jules Janin in the Journal des Debais, that he could not appear
in puhlic without being hissed.

As there is a curious mixture of violence and sarcasm in the French
critic's attack, the following extract may prove amusing. *Let him
(Paganini) go!' cries he. Met him go, laden with puhlic contempt.
Let every one assist him on his way, that he be not robbed of his
darling money. May the innkeepers lower their prices for him, may
the diligences charge him but half price, like a child under seven ; may
the postilions avoid asking him for drink-money, may his journey be
as prosperous as he can wish, but on his road may none desire to be-
hold him ; may his violin, which can only sound when filled with gold,
be condemned to silence ; may this man pass on as unnoticed as the
last hawker of wine and old books.'

MILAN.

Madame Malibran, who had long been expected to take the part of La
Sonnambula^ at length made her appearance in that character at the
Teatro alia Scala. The applause was but partial, though, perhaps, on
that very account, more enthusiastic. Her sister, Garcia Ruiz the
excellent tenor, and Cartagenova (base) gave no satisfaction. Ruiz,
however, pleased most, as the audience could not refuse justice to her
splendid voice. It is hinted that the prices, which have been raised,
caused this unfortunate disposition on the part of the public.

ROME.

An opera by Mazza, Helena e Malvina, has been performed at the
Teatro Valle with distinguished success. The music is set to old words
written by Romani, and both words and music are rather of the me-
diocre order.

MUSICAL ANECDOTES OF NAPOLEON.

At the time when the operas of AriodanU Evphrosine^ and Slatonice^
compositions of Mehul, received the greatest applause, the Consul
Napoleon could not cease taunting the composer with the observation,
that his works were without doubt very fine, but did not contain one
single melody that could be compared to those of the Italian masters.
* Learned music, learned music you give us, it is true, my friend, but
as to sweetness, pleasing and enlivening melody, in that you Frenchmen
are as deficient as the Germans.' Mehul made no reply, but went forth-
with to his friend Marsollier, and begged of him to write a small and
very lively opera, the plot of which should be sufiiciently insipid to be
ascribed to a libretto poet ; but at the same time enjoined him to pre-
serve the greatest secrecy on the subject Marsollier set to work imme-
diately, and wrote the opera Imalo with the greatest possible rapidity.
He delivered it to Mehul, who as speedily composed to it the well-known
charming music, which to this day never fails to enrapture the public.
Marsollier now waited on the Committee of the Opera Comique, to in-
form them that he had received from Italy a score, the music of which
was delightful, and that, notwithstanding the insipidity of the poem, he
had taken the trouble to translate it from the Italian. (The score had
previously been copied in an unknown hand-writing.) The actors on
hearing the new work are enraptured with it, and wish to study the
parts forthwith, not without much contention as to their allotment, and
all the journals are filled with pompous announcements of the expected
production of a delightful opera by an Italian master. The first repre-
sentation is advertised, the Consul expresses his intention to be present,
and invites Mehul to accompany him. * It will be a sore subject for
you, my poor friend, but perhaps while hearing melodies so totally dif-
ferent from your school, you may be cured of the mania of writing
nothing but scientific abstrusenesses.' Mehul pretends to be offended
with Buonaparte's remarks, and refuses to go to the theatre. On being
further urged, however, he consents. At the very overture the Consul
began to testily the loudest applause ; everything was charming, natural,
"full of grace and freshness ; the signs of his approbation became louder
and louder, and he exclaimed in raptures — ' In truth, nothing can sur-
pass Italian music ! ' The opera was concluded amidst the most enthusi-
astic applause, and the names of the authors were called for with intense
curiosity. Martin, the manager, asked Marsollier if he wished to be
named as the translator ? ' No ! ' replied the latter, * but as the author
of the drama ; and you may announce at the same time that the music

is by Mehul.' The astonishment on the Btac;e was universal, for the
secret had been so well kept that none of the performers had even
guessed at the truth. The curtain rises again ; after the three usual
bows the names of the two authors are announced, and greeted with
universal bravos. The Consul had sense enough to make the best of
the joke; he laughed, appeared satisfied, and took the trick in good nan.

* May you always deceive me in a similar manner,' said he to Menul :

* I shall always be glad, both for the sake of your reputation, and my
delight.'

Buonaparte could not bear Gretry ; and although possessed of an
extraordinary memorv for names, whenever accident brought the cele-
brated composer under his eye, he always affected not to recollect his
name. One day Gretry formed part of a deputation, which the Institute
had sent to Napoleon, to congratulate him on his return from a great
campaign. Buonaparte, after listening to the address, stepped through
the crowd, and personally addressing the musician, repeated his eternal
question — • What is your name ? ' • Tovjoun encore Gretry^ Sire^*
answered the composer.

THE THEATRES.

We have for weeks past been hoping to be furnished with a fit occasion
to resume our notices of the Musical Drama. Our attention has con-
stantly been directed to the play-bills, and occasionally we have entered
the theatres, in search of something that would justify us to our readers
and to ourselves for devoting a column, or even a portion of a column,
to this department ; — ^but in vain. Tempted by the encomiums often
found in the daily papers, our credulity has led us to listen to what has
.been praised with so ,much apparent warmth ; but we have invariably
been aisappointed, have heard nothing at either of the UgUimaie houses
that has afforded us one moment's satisfaction, or that is worth a single
remark.

Captain Polhill retired at Christmas from both theatres, having lost,
it is confidently stated, about eight thousand pounds in three months ;
and after having suffered, from first to last, to the amount of fifty thou-
sand pounds by his speculation ! The King's Theatre has gone a-beg-
ging. More than one narty took a glimpse at the concern, then fled
away, frightened. Hopeless of procuring a tenant, the blundering assign
nees of Messrs. Chambers have allowed M. Laporte to hold the theatre
for the ensuing season: what will be the result, and how long the season
will last, may easily be guessed, by those at all acquainted with the affairs
and recent management of the Italian Opera-house.

If all that we hear be true, we shall have to cross the river this winter
in order to enjoy the lyric drama. In Surrey, — and at no great distance
from where stood, in Shakspeare's time, the Globe Theatre, — ^at the
Victoria, Uie two great English singers of the day, Braham and Phillips,
are engaged, and will soon appear, together with a young hidy, new to
the stage, whose vocal powers are much spoken of by connoisseurs.
These, it is said, are to be seconded by persons of respectable talent :
if so, the winter season will not pass away without this vast city having
an English opera worth the trouble of attending. Certain it is that the
above-mentioned performers are secured, and with such auxiliaries, the
manager will deserve, and not escape censure, if he does not produce
what will be both profitable to himself and creditable to the metropolis.

TO OUR READERS AND CORRESPONDENTS.

Ajix we to undeittand that our conespondent, in pencU, wishes us to insert his last
conununication on Haydn's liasses ? With regard to his offerj we must beg to know
his conditions.

We feel extremely indebted to our correspondent for the corioos and valuable MS. of
Auld Robm Gray, by which we shall shortly profit, as well as by the letter accompany-
ingit.

The taste of ' Jacobus Violin * u about as classical as his name. We do not intend
to iDJure our work by following his advice in any one particular.

We have been uivoured by some agreeable MS. compositions, but, with many
thanks, must decline all those at present in our possession. Our work must only
contain what is pretty sure of being as much adnurad by succeeding generations as
by the present

The notices of seventl provincial concerts were^ from want of room in our last,
reluctantly omitted ;- and now they have lost mudi of their interest, therefore are not
inserted.

ERRATUM.
Part XI., page 2 of the Vocal Music, Spohr*8 Song, the metronomic mark should
|,e ^^ = r, not = I, as printed.

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET,

Pjumtbd by WILLIAM CLOWES, 'D^jmm Stbut, Lambbte*

MUSICAL lilBRARY.

No. XII. MARCH, 1835. Price Sixpence.

Vmge
The Music of Fart XII.' 13

Birethoven • • • • • 14

'Aiild Robin Giey' 17

CONTENTS,

Spohr's < JesBonda, or the Rajah's Wife ' .17

The Phonomime • • • 19

Philharmonic Society •••••.. 19

Society of British Musicians • • • « . 20

Vocdl Society • . , 21

Review 22

Foreign Musical Report •••... 23

THE MUSIC OF PART XII.

Air, with Variations — (Page 21),

composed by Mozart. A part of the original work is omitted,
experience showing that the whole is almost universally found too
long. Such passages are transferred to the additional keys, —
which were not in use in Mozart's time, — as it seems likely he
would so have placed them, had he enjoyed the advantage pos-
sessed by us of an extended compass of the piano-forte.

Movements from a Trio— (Page 26).

The first and last movements of a Trio which forms the ninth of
XIL Senate a due Violini e Violoncello, e Cembah, se piace,
Opera 3za, published in London about the year 1744. Some
of these were afterwards enlarged into Concertos for a band of
stringed instruments, and the fourth of the latter — from the
ninth Senate — is annually performed at the Ancient Concerts,
where it is listened to with the attention which such originality,
and melody so exquisite, will always command from an audience
of real taste. The composer is

GIUSEPPE SAN martini,

born at Milan, but a resident, during the greater part of his life,
in London, where he arrived in 1723. He immediately made
himself known as an admirable oboeist, at a concert given by him
at the little theatre in the Haymarket, then called the French
Theatre, from a company of French comedians being allowed to
perform there, chiefly for the entertainment of George I., who
was not sufficiently acquainted with our language, to derive any
amusement from the English drama. His success commanded
an engagement, as first oboe, at the Italian Opera, where he con-
tinued to perform during the whole of HandePs management.
In 1740 he entered the service of Frederic, Prince of Wales, and
instructed the young princesses in music* Hereupon he quitted
the Italian theatre, gave up playing in public, and devoted him-
self wholly to tuition. He died in 1750. ' As a composer,' says
Dr. Bumey, ' Martini possessed all the learning of the old school,
with infinitely more invention, taste, and grace, than any other
Italian of his time.'

Romance and Rondo — (Page 31),

from the ballet of Zephir et Rose, composed by

p. lindpainter,

a living German composer. Kapellmeister fo the King of Wiir-
temberg, whose reputation seems to be fast increasing on the
continent. We have hitherto seen but few of his productions. •

Adaoio — (Page 34),

the slow movement of a ver)' fine sonata, b, truly * grand' work, in
c minor. Op. 25, by
Vol. II:

JOSEPH WOELFL,

a native of Saltzburg, where he had his birth in 1772. He
studied composition under Michael Haydn, and the piano-forte
under his illustrious townsman, Mozart. In 1794 he made a
musical tour, visiting Warsaw and Vienna, and in the latter city
produced his first opera. Den HoUenberg, which was much
applauded. He afterwards performed at Prague, Dresden,
Berhn, Hanaburg, &c., and came to England, where his per-
formance excited the admiration of all connoisseurs ; but his style
was not of the popular kind. In 1801 he went to Paris, and
there brought out an operetta, L" Amour Romanesque, which did
not prove successful. He soon returned to this country, and re-
mained in London till his death, in 1811. Woelfl's works are
numerous, but the best are not calculated to please the many ;
and of those he wrote for the music-publishers, most betray an
inability to trifle gracefully. Unfortunately, this able musician
divided his attentions equally between Apollo [and Bacchus; and
to his libations in honour of the son of Semele his premature
departure from this world is to be mainly attributed.

Glee— (Page 17).

Lightly tread, 'lis hallow'd ground :
Hark! above, below, around,
Fairy bands their vigils keep,
While frail mortals sink to sleep ;
And the moon with feeble rays
Gilds the brook that bubbling plays,
As in murmurs soft it flows ; —
Music meet for lovers' woes.

We cannot trace the author of the words; and of the composer of
the music,

GEORGE BERG,

we only know that he gained the first prize-medal given by the
Catch Club, in J 763, for the glee, 'On softest beds, at leisure
laid;' and that he obtained medals the two following years for
the glees, 'Compagni amor,* and 'Si beviam vezzosa Dori.'

Canzonet — (Page 18).

Why asks my fair one if I love ?

Those eyes so piercing bright
Can ev'ry doubt of that remove.

And need no other light.

Those eyes full well do know my hearty

And all its workings see.
E'er since they play'd the conqu'ror^s part,

And r no more was free.

The name of the author of these verses does not appear. The
composer is Haydn. This is the fifth of his second set of can-
zonets.

THE MUSICAL LIBRARY.

La Marmotte, or the Savoy ard-Boy*s Song — (Page 20)

From land to land I freely roam,

{Ick kiimmff 9chon iurch manche land^

Avec que la marmotte^
And eveif wbere I find a home* .
{JJnd imtner was zu enenfahd^)

Avec que la marmotte.

This mere trifle is the first of No. 4 of ^Beetbovea's
(Gesange) printed at Leipzig.

MngB

Canzonetta — (Page 21),

Nizza, je puis, sans peine,
Dans les beaut^s de O&ne,
Trouver plus douce reine, — "

Mais plus beaux yeuz, jamais !

Til peux trouver, sans peine.
Plus haut seigneur dans G^ne,
Pour te nommer sa reine, —
Mais plus d'amour, jamais !

Composed, and recently published in Paris, by Rossini. Though
what is called a bagatelle^ the genius of the writer is here very
cpnspicuous.

Madrigal — (Page 24).

Return, return, my lovely maid,

For summer's pleasures pass away ;
The trees* green liv'ry 'gins to fade.

And Flora's treasures all decay.

No more at ev'n-tide waileth sweet

Sad[Philomel the woods among ;
Nor lark the rising mom doth greet: —

Return, my love, thou stay'st too long.

This was composed by Garret, Earl of Momington, though first
published in Warren 9 Monthly Collection, anonymously. It
afterwards appeared under the psetidonyme of Ireland.

Song— (Page 28.)

O gentle maid, hear thou my sighs.

For thee my soul in secret dies.
Ol'ace with thy smile those lips divine.

Doubt then will cease, and joy be mine.

Set originally to Italian words, beginning ' Caro, mlo ben,* and
in both forms was the delight of all, towards the latter part of
the last century. It will in its present revival be found to have
lost none of its charms. The composer,

OIUSEPPI OIORDANI^

sometimes called Giordanello, was bom in Italy, in 1750. He
came young to England, and was soon much engaged in teaching
music. In 1779 he embarked in a foolish theatrical speculation,
in Dublin, with Leoni, the soprano, and in four^jears became
bankrupt. He 'composed two operas for the King's Theatre,
Antigone and Artanerse ; also an opera for the English stage.
His songs, &c., were in great request during many years. We
have seen only few of them ; but if there are any now generally
unknown, possessing the merit of the above, it is much to be re-
gretted that they are not brought forth again into open day.

Sow-r(Page 30.)

Where'er you walk cool gales shall fan the glade'; ^
Trees where you sit shall crowd into a shade ;
Where'er you tread the blushing flowers shall rise.
And all things flourish where*er you turn your eyes.

From Congrevb's drama of Semele. Jupiter sends two ' winged
zephyrs ' to convey Ino to the retreat of her sister, Semele, who
sighs for a companion during the unavoidable absence of the god.
In the above lines Jupiter announces a part of the happiness
which the sisters shall enjoy together.

WILLUM CONOREVE>

one of our greatest dramatic poets, second son of Richard Con*
greve, Esq., of Congreve, in Staffordshire, was bom at Bardsa,
near Leeds» in 167^, and died in 1729. Among his worb are

The Judgment of Paris, a masque, set to music by Weldon, and
Semele, an opera, set to music by Handel. To the above air of
Handel, Dr. Arnold adapted sacred words, ' Lord, what is man V
and thus it forms a part of the pemiiedo «ratorio> The Redemption^

Gleb— (Page 32.)

It was en English ladye bright,

(Tba sun shines fair on Carlisle wall,)

And she would marry a Scottish knight,
For love will be the lord of all.

Blithely they saw the rising sun,

(When he shone fair on Carlisle wal1»)

But they were sad ere the day was done,
Though love was still the lord of all.

Her sire gave her brooch and jewel fine,
Where the sun shines (air. on. Carlisle wf^Il ;

Her brother he gave but a flask of wine.
For ire that love was lord of all.

That wine she had not tasted well,
(The sun shines fair on Carlisle wall,)

When dead in her true love's arms she fell I
For love was still the lord of all.

He pierced her brother to the heart.

Where the sun shines fair on Carlisle wall ;

So perish all would true love part.
That love may still be lord of all.

And then he took the cross divine,

(Where the sun shines fair on Carlisle wall,)

And died for her sake in Palestine ;
So love was still the lord of all.

Now all ye lovers that faithful prove,
(The sun shines fair on Carlisle wall,)

Pray for their souls who died for love,
For love shall still be lord of all.

From The Lay of the Last Minstrel, Canto YL, stanzas 11 and
12, by

SIR WALTER SCOTT, BART.,

of whom it is only necessary to say, that Edinburgh had the
honour of his birtn, on the 15th of August, 1771 ; and that he
died on the 12th of September, 1832.

The music has been composed purposely for The Musical^
Library, by

WILLIAM HORSLET, MUS. BAG.,

of whom, as a contemporary, and living in London, we shall
only state, that he was born in this metropolis; that owing to bad
health he had reached his sixteenth year before he commenced
his musical studies, which were prosecuted with but litde assist-
ance, the master under whom he was first placed having much
neglected him ; that he soon became acquainted with Dr. Callcott^
whose example and conversation proved highly useful to him, and
led to his first attempts at glee-writing. In 1798 Mr. Horsley
suggested the formation of a society for the cultivation of English
music, which was carried into effect, and by the late Mr. Webbe
named Concenfores Sodales, under which title it still exists. In
1 800 he had the degree of bachelor of music conferred on him at
Oxford. Shortly after, he was appointed organist of the Asylum,,
and subsequently of Belgrave Chapel. He has composed much
of various kinds of music, but his glees, which are very numerous,
are the works on which his reputation is chiefly founded. Of
these, * By Celia's arbour,' ' See the chariot at hand here of love,'
' Cold is Cadwallo's tongue/ &c., are kno\^n wherever this species
of music is cultivated.

BEETHOVEN.
[The following article, from the Foreign Quarterly Review^ though
much read and justly admired at the time it first appeared, 1^
never been sufficiently known to that body which it is so well cal-
culated to improve, namely, the real, not pseudo, composers ; who
willdo well to expend some of their midnight oil on one of the most
philosophical, elegant, and instructive pieces of musical criticism
that ever issued from the press of this, or any other, country.]
There cannot' be stronger evidence of the subtle nature of
musical thought, than that out of the multitude of composers
who strive and labour incessantly to gain honourable distinction
in the art of music, so few are destined to exercise upon it a
strong and permanent influence. By a long series only of suc-
cessful eflTorts calculated to display the same genius in a tarie^

THB MUSICAL UBSARYr

of «ttltiiiieiy bjr fresh diffieuitias proposed mmI vanquiglied ia
Aiit^6r«tiiding saeeeasion, eaa the composer create au era in his
4X1} and fortonate woukl it be for hundreds, if patience and per-
Mreranee woald eneare high fame; but of a hosf; of people who
h$sve endured the constant thought, toil, and irritation which are
iaeident to the musician's profession, the name of one alone shall
litig Ihroi^hoot Europe, while all the others are condemned to
kmguish' in some ob«;ure comer of a biographical dictionary*
Many an artist is awakened out of the agreeable dream of am-
bition at a time of life when it is too late to begin any thing fresh,
sold then first becomes fully aware of the unpleasin^ truth that he
has no genius — ^in the true signification of the word — that he has
snistsJcen his talents and mis-spent his time — ^that nature intended
kim for an admirer of the beautiful, but not for a creator
of it. Others, more happy, dream out their lives, and die in
the delusion that they possess invention. Seeing that nature
has so much more bountifully bestowed a susceptibility to musical
beauty, and a desire to communicate impressions (which pro-
voke men to attempt composition) than the romantic genius,
(the power of investing common things with something rich and
strange, which should be its sole warrant), it would have been a
kind of cruelty in her to deny all reward to the plodding patience
and industry, and the respectable talent, by which the bulk of
artists in every age is distinguished. Accordingly there is a
second or third-rate immortality, a niche among the j>» minorum
gentium for those who, having spent their lives in straining after
excellence, have been now and then happy enough to hit the
mark. Ihe contemplation of such spirits as Mozart and Beet-
hoven renders the musician's devotion to his art a very pure and
refined feeling, totally divested of any selfish consideration ; for
these men, proposing to themselves objects far beyond any that
had entered the imagination of other artists, and succeeding as
marvellously in the completion of their designs as in their con-
ception, whue they elevated music into a grander and more intel-
lectual art, necessarily made its cultivation more difficult, and
placed it farther out of the reach of such as should foUoMr them.
Yet who would basely wish a note unwritten in any work of these
masters, for the sake of an additional chance for himself? who is
there, indeed, who does not feel grateful to them for having made
failure honourable ? It is characteristic of the epochs created
by both these artists, that at their decease music seemed to have
run its course ; originality of melody, design, and style, seemed
exhausted, and nothing remained for future times, save the imi-
tation, at a humble distance, of their too perfect models. But the
temporary stagnation which is to be observed at certain periods
of musicsd history lasts only until nature is pleased to present us
with a man of genius. Thus we find that the resources of instru-
mental music, which seemed to be dissipated by Mozart, received
fresh vigour from Beethoven : Weber also opened a new vein of
interest in the dramatic style, and excited passion afresh, without
interfering with any of those discoveries which peculiarly belong
to the great head and master of the modem German school. The
inference is obvious ; whenever an artist asserts that the springs of
harmony and melody have run dry, it is a sure proof of his own
short-sightedness and want of invention, and the truly original
and beautifbl styles which are from time to time inventeid, even in
these dajrs, must, we fear, put to the blush the most disappointed
man who would fain console himself at the expense of the art* It
would save much bitterness and many after-repinings, now that
the musical profession is often adopted from motives of vanity, even
unaccompanied by love^ that the young artist should seriously
consider how great a thing it is to be a composer. Has he the
power to get rid of himsefff Is he free of the ideal world, and
does he live apart, in communion with fancies akin to the most
Mbtle refinements of poetry ? Without the faculty of abstraction,
all his sensibility, industry, and patience will but leave him one
«f those small geniuses who hover perpetually in the same track,
and seek in vain to break loose from the enchanted circle which
confines their ideas. He may be a Beethoven or a Mozart for once
in his life, but he will have spent himself in the eflbrt. It is the
inexhaustible variety of these masters, their perpetual welling up
of subjects of most '' unlike resemblance," which is the wonder of
their geniusj and shows that they have been

^ Lnf ning to what nnilioni Apotto nni^
To tlift touch of golden witet."

Weber, in some measure, lets us into the secret of this variety,
when he asserts that he never saw a beautiful landscape that did
not produce in his mincLa train of corresponding musical associ-

ations.- A universal sympathy, and the faculty of expressing it
in forms as multifarious as the aspects of nature — ^remote ideas in-*
stinct with truth — ^the power of awakening in a phrase of melody
a long train of dormant feelings which seem before to have wanted
their true expression ; these are qualities sufficient to account for
the rarity of high musical genius, and especially so when it becomes
necessary to suppose them refined by a tedious education, and aa
experience in the details of art the most painfully minute. The
herd of musicians are but the almsmen of the great masters *,
and exist upon their superfluous wealth ; they are the dogs eating
the crumbs that fall from the rich man's table. How many has
not Mozart, Beethoven, and even Weber set up ? An acquaint-
ance with musicians/ great and small, and a thorough intimacy
with the difficulties of composition, are necessary to the estimate
of Beethoven — a meteor, at the brilliancy of whose track Europe
has hardly yet recovered its amazement. Fancy and feeling were
in him full to overflowing ! The characteristics of his genius are an
almost unprecedented exuberance of imagination, and a peculiarly
penetrating and searching quality of melody. Within himself he
possessed all variety. At one time charming by a noble sim-
plicity which impressed the most unpractised ear; at another,
running into extremes of the wild and fantastic, which mystified
even educated musicians, no composer ever more embarrassed and
divided the judgment, and it is not surprising to find that among
the more vulgar of practical musicians, Beethoven was actually
supposed to be a madman, with occasional lucid intervals ! This
notion prevailed here about fifteen years ago, upon the appearance
of some trios fot the piano-forte, violin, and bass, in a style so un-
precedented, and at that time so extravagant, that good people,
aided by vague rumours of the eccentric life of the author, retailed
here by travellers firom Vienna, hastened to the short, easy, and
charitable conclusion that the author was lunatic. But '* there
is more between heaven and earth than is dreamt of in their philo-
sophy." Music is now in a state to afford a clue to the meaning
of elaborate compositions which before seemed to be one labyrinth
of inextricable doubt and error ; and we would fain hope that such
of Beethoven's later works as still remain incomprehensible are
only conceived in some exalted region of the fancy beyond the
flight of ordinary imagination. When the solution of difficulties
is found in the gradual refinement and progress of an intellectual
taste, such a deduction surely is not unreasonable, and we confi-
dently expect that time will dispel the mists which yet envelop the
composer's meaning in his posthimious quartets, his last grand
mass, and his symphony, .with a chorus — works in which he has
pushed to extremity the usual license and audacity of his har-
mony, and which have produced a vast deal of debate and many
ingenious hypotheses. We are sticklers for the orthodoxy of the
canons of composition, certainly not from any affection for pedantic
mysteries, but because we believe them to be founded on tne prin-
ciples of correct taste and feeling. Beethoven, though accounting
himself free from the restraint of rules, has not so often abused this
liberty as to become chargeable with constant incorrectness, and
we apprehend no favourable argument will be drawn from him by
those who would have the laws of harmony revised, if not repealed.
His musical education was soUd and scientific, and it was after being
a graduate in the systems of the schools that his style was formed!
If, in the indulgence of so vast an imagination, in the pursuit of
ideal beauty, and of surprising and grand effects, he risked every
thing towards the emotion he would create, with comparatively
fiew trespasses upon rules, he is only another proof of the propriety
of their institution, though we admit that no one among the great
composers has better shown when, and how far, they may give
way with advantage. Among the crowd of Beethoven's imitators,
there are some who ape the extravagancies of his imagination^
purely that they may conceal their defects of real science, and who
eifeufild only from inabiUty to produce what is correct, symmetrical,
and beautiful, Indeed, to many artists, the lustre of Beethoven's
effects has proved but a will-o'-the-wisp — they have followed its
guidance, and have been left in the mire. Some of these, su]p-
posing that the true secret of the composer's fascination lay m
the ugliness of a passage on its first hearing, and remembering
that Beethoven's symphonies were not liked at first, and now <me
liked, concluded that repetition not only wore off the first impre$-
sion, but even changed it entirely. They, therefore, congratulated
themselves when they had made a good hideous composition, and

* Mozart, who never wrote any thing superfluooe^ complimenti, in a letter, one of
hts ac()uamtance for ccmpomtfjf with hU wm tdifot— w if this w»r« a tingolar vittue
ia nuneftl ai]rth«iti> J

C 2

THE MUSICAL LIBRARY.

saw that it was very much disliked, flattering themselves that it
would be greatly relished when often heard. Unfortunately, the
insensate public have seldom taken the pains to renew the trial,
and by refusing to have merit dinned into them, have left neglected
genius to pine in the belief that success can only be obtained by
what Falstaff calls " damnable iteration." It is a pitiable de-
lusion : the musical public (properly so called) have an instinct
which does not mislead them in judging between performances
which have a meaning, though they perceive it not, and such as
from first to last can only be found vacant.

It has been justly observed by an acute German critic, that
under the name of music, considered as an independent art, we
should understand instrumental music only, which, free from the
shackles of verse, and pure from all admixture or foreign aid, can
alone express the propre of the art. Much of the ori^nality and
the beauty of modern music is attributable to the felicitous em-
ployment of instruments ; the ideas of composers keep pace with
the ability of performers, and the character of its compositions
for instruments is the test of the refinement of an age in musical
taste. The human voice is, at best, but circumscribed — its
powers are little calculated to impel the art forward; but in
instruments, there is gained, from mechanical skill and scientific
research, a lever wherewith to move the world. Every improve-
ment in modem music, nay, even that of the human organ itself,
its more remarkable flexibility, and more just intonation, may be
traced to the influence of instrumental composition and perform-
ance, and first in this department of music must be considered
the symphony. The very name of Beethoven brings into the
mind a crowd of exquisite subjects from his symphonies, which
prove how firmly his fame is erected on their foundation. Under
this composer and Mozart, the adagio attained a high vocal and
sentimental character, which it certainly wanted in the earlier
symphonies of Haydn — compositions abounding, indeed, in spirit,
fancy, and ingenuity, but not of a kind to enrol the author among
the ^reat triumvirate; this distinction he more honourably earned,
we tnink, in his twelve symphonies for Salomon, and his Pcumone,
a series of slow movements, in which the poetical gusto of Mozart
is fairly rivalled. The instrumental style demands peculiar qua-
lifications, and admits of no mediocrity. Mozart led the way in
it, and was the first to complete a model of the symphony ; but
his genius, all passion and voluptuous grace, though divine, is
touched with too many human sympathies, and his '* music,
yearning like a god in pain," left much to Beethoven, who, if
we would give his spirit a form and habitation, should have that
face of calm, conscious power, which distinguishes the sculptured
heroes and demi-gods of antiquity. As it is the characteristic of
eminent composers to outstep the judgment of their age, it is not
siuprising to find that the excellencies of Beethoven were for a
long time warmly contested ; but it was in this nebulous atmo-
sphere of England (according to M. Fetis, most unfavourable to
music), that mey were first acknowledged. Every season of the
Philharmonic Society brought over new converts, and even
Salomon, the personal friend of Haydn and Mozart, and who
upheld their superiority with the zeal of a political partisan, was
at last fairly a renegade. Beethoven's earlier symphonies — the
Numbers 1 and 2 for instance — in certain passages show the
composer assaying his unfledged wings ; but they do not indicate
the extent and boldness of his flight. In the slow movements,
particularly that of the second, there is a foretaste of the delicious,
indefinable emotion which possesses the hearer in the perform-
ance of his adagios — but in both, beyond the choice of an un-
usual time, with here and there a characteristic transition or
60 — there is nothing widely different from the physiognomy of
Mozart. But in the Pastorale, in the symphony in B flat, in the
Andante of that in A, and last and chiefest, in the energy of that
sublime production, the symphony in C minor, we have pure
Beethoven, and a revolution of style so complete, that by no con-
struction possible can the ideas be attributed to other masters, or
the smallest share be claimed in them. And herein is the glory
of Beethoven s invention — that he followed Mozart, the musician
who has made the strongest appeals to the sensibility, and by
means totally new attained the -same end, and not less power-
fully affected his hearers. To show properly the distinction of
style between Mozart and Beethoven would call for a lengthened
disquisition, and many citations from their works, not altogether
suited to the character of this publication; but yet, avoiding
technicalities, something may be said upon this subject not un-
worthy ot the amateur's attention. Under Beethoven the first

movement grew more wild, and the scherzo (an invention, by tlto
way, of his own) more capricious than the most playful minuet
of his predecessors. In the second part of his allegros^ he. at first
seems like one in a reverie, and following no settled plan ; but
more intimate acquaintance with his music serves to show that
in the wildest of his~effusions there is a prevailing order and sj^-
metry, and that it is greatly by means of his extraordinary aiid
fanciful episodes that his novelty is effected. He apjpears jto
deem it sufficient that the main features of a work shali be con-
formable to the laws of order : in artfully veiUng the rest of his
design he only carries forward what Mozart began, who. did n{>t
choose that the conduct of his compositions should be too pal-
pable, or that his whole plan should reveal itself at once, aud
provoke no curiosity or examination. Beethoven's symphonies,
notwithstanding their unintelligibility at first hearing, are really
remarkable for their simplicity, as well as for the roughness and
grand effect of their instrumentation. It was the style that em-
barrassed musicians, most of whom have a nervous horror of
committing their taste upon any thing new. They were not so
well provided as that prudent lord commemorated by our English
Pindar, who, wishing to know when to disapprove at the Opera,
took an Italian singer with him, with directions whenever he
should find

* A singer's voice above or under |)itcl].
To touch his toe or give his arm a twitch.*

And really that invaluable twitch may be excused when we
find one of the most energetic allegros of instrumental music
built out of elements like these: —

.Sl.

tJtJL

"cy

for if we are moved by so simple a theme, performed by a large
band, we are aware that it is contrary to all precedent, and con-
sequently are not certain that it is correct to admire.^ But did
not Beethoven mean by the suspense of the key in this impressive
unison, to raise in the mind that expectation and excitement
which form the fittest state for the powerful a^ncy of music ?
Assuredly we think he did, and that herein also is an instance of
the sublime of simplicity, which he was the first to illustrate in
instrumental composition. If the reader would penetrate farther
into the causes of the originality of Beethoven's effects, we would
refer him in brief to the frequent doubling of certain intervals of
a chord, while others are left thin or wholly omitted— to the
placing of notes at remarkable and unusual distances — ^to the
studied omission of some usual note, &c. ; and we recommend
him to examine, as a favourable specimen of the author's pecu-
liarities, the introduction to the symphony in B flat. Hofimann
speaks worthily of the andante of the C minor symphony, when
in his usual enthusiastic way he says, " Do we not seem to hear
in it a divine voice discoursing to us of love and hope ? " In the
whole range of music there is no type of this beautiful andante,
no, not even in Beethoven himself; the artist is no longer indebted
to Haydn or Mozart, — ^the whole movement is purely an emana-
tion of his own feeling and fancy. There is an andante in A flat
in a well-known symphony of Mozart with which this is often
compared. If Mozart, out of the inexhaustible store of his ideas,
sustains the hearer in a more constant state of luxury, Beet-
hoven's melodies are, perhaps, more appealing, from being em-
ployed with an exquisite cunning of simplicity, and from the
attention being less occupied with constant toviches of the artist.
We can imagine the truth of the confession of an amateur, that
the opening of one of Beethoven's symphonies at the commence-
ment of a concert will often so much excite him, that he becomes
dead to all further impressions from music for the evening — incar
pable of feeling any thing more. ^The scherzo is not less removed
from the ordinary course of experience, and is as different from
the minuet and trio of Mozart, as Haydn's manner from that of
Emanuel Bach. In its grotesque employment of the minor key
with alternate major, we seem to be present at a village festival,
witnessing the voluntary pranks and comic dances of some half-
drunken clown — ^thunder is heard in the distance, and the sports
are for a time suspended, till the finale bursts in it, as it were, in
a flood of sunshine and of joy.

THE MUSICAL LIBRARY.

AULD HOBIN GRAY.

To the Editor of the Musical Library.
SiEir— The interest I feel in the Musical Library must be my apology
for intruding on your notice. I take every opportunity of promoting
the circulation and success of that work» and if the following contribu-
tion is at all acceptable, it is much at your service. It is the last copy
ever written by the composer, the late Rev. Mr. Leeves, of ' Auld Robin
Gray/ I had the pleasure of instructing Miss Leeves in music, which
gtive me the opportunity of many conversations with her father on the
subject of this beautiful and most pathetic ballad, in which I often re-
peated my regret at never having seen a copy of the simple air, as at
first written. In consequence of this, Mr. Leeves was good enough to
favour me with the enclosed manuscript, containing his own melody and
base, preceded by some remarks as to the manner of singing and ac-
companying the melody.

I am, &c.
Ashbume^ Dec, 4, 1834. Andhew Loder.

We are much indebted to Mr. Loder for the communfcadon of «»
interesting a musical document, which only the pressure of temporary
matter has prevented our attending to earlier. As a musical curiosity,
a relic, we insert the original air in this Supplement, rather than in the
Musical Library, the latter being confined to compositions of a parti-
cular class, or rank ; and so simple and unaccompanied a ballad would
have been out of its natural place among such works.

* The principle,' says Mr. Leeves, * on which the ballad of Auld Robin
Gray is intended to be founded, is, to give an idea of its being the
impressive recital of a Scottish lassie ; and an expression of feelings
excited by a recollection of events therein related. The accompaniment,
then, ought to be simple, and not too much charged with harmonies:
nor should the air itself be loaded with frequent appoggiaturas, which, by
connecting the passages, militate against that broken narration, which
marks the language of true distress.'

^Hm

2=^:

n j^ ^

Young Ja- mie lov'd me weel, and ask'd me for his bride. But

sav - ing a croon, he had

S=fi=£:

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?=t

1 2 ^ t ^

v^^

■m—r

iTi-

p — ■ — r I

nae - thing be - side: To make the croon a pun'

my Ja - mie went to sea. And the

■#=

croon and the pun' were baith for me. He had nae been gone but a year and a day. When my^

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^tt

w — r

j^ZtJ q^^^-H^

i.> k >,.P'

:M£:

1\0,J^dp

fai- ther brake his arm, and our cow was stole a* way; My mi-ther she fell sick, and Ja-mie at the sea. And

Auld Ro-bin Gray came a - courting to me.

B^ ^ ^ c i ^ l N ^pi

jtZjt

SPOHR'S JESSONDA, OR THE RAJAITS WIFE.

There seems to be an inclination on the continent to do justice
io this opera ; it has been revived lately in many parts of Ger-
many, and may perhaps at length be heard in London. The fol-
lowing account of it, published some years ago in a foreign
journal, will be interesting to musical readers, if it do not prove
BtUl more serviceable by leading to its production, in some shape,
at one of our now numerous lyna theatres.

The story is taken from Lemieres* Veuve du Malabar, and
possesses considerable interest and stage effect. The scene is at
Goa, on the coast of Malabar, and the outline of the story is as
follows : — Jessonda, the youn^ widow of a deceased Rajah, is, after
the manner of the country, devoted to the flames. Having been
forced to accept the hand of the Rajah, and though she had pre-
viously pledged her love to a Portuguese officer, wnom the chance
of war had ttirown upon these shores, she advances reluctantly to
meet her fate. The Portuguese are at this time besieging the

C 3

,18

THE MUSICAL LIBRARY.

tfeown, and the officer hearing of the intended sacrifice of the object
of his fbrmer love, scales the wall with a band of faithful followers,
rushes into the town, and rescues the intended victim.

The overture commences with the subject that is afterwards
employed in the scene of the funeral of the Rajah, and is full
of powerful and increasing effect. The first scene displays the
interior of a temple, where Brahmins and Bayaderes are as-
sembled to solemnize the funeral obsequies of the Rajah. The
powerful chorus of the former, contrasted with the more softened
and lovely strains of the Bayaderes (which are interspersed with
dances by the latter), and terminate in a grand hymn to Brahma,
form the introduction : yet amidst all this variety, the beauty and
unity of an entire whole are admirably preserved.

In this, as in his other works, Spohr, treading closely in the
footsteps of Mozart, has proved that dramatic music may be
brought into regular forms, without injury either to truth of ex-
pression, or theatrical effect. How great a master is Mozart in
this respect ! What a variety of objects does he unite together
in his finales, and yet how admirably has he combined them into
one grand, harmonious, and effective whole ! How bold are the
touches, how strong the colouring he has thrown into some of his
characters, and yet without destroying the rhythm, symmetry,
and keeping of the whole. The many may rest satisfied with
mere force of expression; not so critics of more refined taste.
It is time that they make this indispensable requisite in a finished

Sroduct of art, but they also require something more; they
emand that a due proportion of all the parts to the whole, a
proper subordination of inferior effects to the great predominant
tone of the piece should be maintained throughout. That this
can be done is sufficiently proved in the productions of these two
masters. But by genius alone can this be effected, by that genius
which possesses an entire command of all the materials upon
which it has to work, of that genius of which it can be truly said^
Menjg aaitat molem. Many composers, however richly gifted by
nature in other respects, and however meritorious their composi-
tions, in general want the power to form a consistent and harmo-
nious whole ; with them it is unu8 et alter assinitur pannus.

But to return to Jeaaonda. This solemnity over, the chief
Brahmin commands a young priest to announce to the widow
Jesaonda, the destiny that awaits her. In a recitative and duet
which follow, the chamcters .of these two persons are strongly
marked ; the first has all the wild fanatieism of an old priest,
while the other, who has only been forced into the service of
Brahma, is impressed with a sense of the barbarity of this custom.
This contrast of feeling is powerfully marked in the duet, which
is considered 4is one of the most striking things in the opera.
An Indian warrior appears, and announces that the Portuguese
anxiy is in motion and advancing towards the city. This awakens
anew the deep hatred felt towards these strangers, and gives
occasion to a short but powerful air and chorus, ia which de-
struction is threatened, and imprecations called down on the in-
vading foe. Aft^r this we are introduced into the apartments
of Jessonda ; she is overwhelmed with sorrow, but endeavours to
console her disconsolate sister. We learn that she is faithful to
ber former lover, which is announced in an air of great tender-
ness and pathos. After a short recitative, the finale commences
with a scene in dumb show, in which the Bayaderes, by the
breaking of staves, reftdin^ asunder a veil, and the extinguishing
of torches, to the accompaniment of characteristic music, announce
ber intended sacrifice. The young priest now appears as the
messenger of death ; with averted face, and with feelings opposed
to the duty he is obliged to perform, he declares her doom in a
plaintive and monotonous melody, with a slowly-moving accom-
jjaniment for the stringed instruments, broken in upon by occa-
sional beats of the drum. He raises bis eye, aad meets the look
of the sisters ; his speech fails him, and he stands motionless.
Conformably to his sacred character, he has never yet beheld a
woman unveiled. He at once becomes an altered being, and the
music expresses this new state of his mind, in a manner which is
indescribably striking, and full of enchanting effect. Then begins
an impassioned quick movement, in which joy and sadness altera
nate — he is in love, and yet recollects he is a Brahmin. 'Being
gently reminded by Jessonda of his duty, he tries to recover
himself, and to finish the sentence which he has to pronounce.
The sister approaches him in the attitude of supplication, and
overcome anew by her charms, he is borne away by his feelings,
finds his whole existence changed, and is determined to throw off
the yoke which religion has imposed upon him. Here follows an

extremely beautiful, though somewhat long, terzetto, with which
the first act concludes.

The second act begins with a chorus of Portuguese, which is
the same subject that has been interwoven in the overture. Their
leader appears, and is saluted with warlike honours. A very
spirited and original march follows. When the scene is cleared,
Tristan D'Acunha remains alone with his friend Lopez, wrapt in
melancholy thoughts ; he reveals to his friend the story of his
early love in these lands, before the fate of war had separated
him from its object This is expressed in an air alia Espagnuola;
it is very beautiful in itself, though it appears of too soft a cha-
racter for the hero D'Acunha. Lopez observes a train of women
advancing from the town ; they come from the Brahmins to an-
nounce that a female is on her way to a sacred spring, to prepare
herself for a pious rite, and to solicit permission for her to pass
without iuterruption. This is obtained. When D'Acunha and
Lopez have retired, Jessonda and the Bayaderes appear. The
introduction to the recitative that follows is full of heavenly calm>
and expressive of the composure that reigns in the bosom of Jes-
sonda. She begs to be left alone with her sister. When the rest
are retired, she asks her sister to gather some of the flowers that
cover the meadow in rich profusion, in order to form a wreath of
peace to the memory of her former love. During the weaving of
this wreath, a duet takes place between the two sisters. Our space
will not allow us to enumerate all the beauties that are thickly
scattered through this opera, and therefore we are obliged t6
forego any remarks on this piece, on an air of the young priest,
and a duet between the latter and Jessonda^s sister, who acknow-
ledge their mutual flame, and plan how to save the sister. The
Jroung priest determines to have recourse to the Portuguese
eader, and he accordingly hastens to him. Jessonda and the
Bayaderes return from the spring. Finale ; a ^ort chorus of the
Bayaderes, interwoven with a solo air by Jessonda.

In the third act, D'Acimha appears in haste; Jessonda ob-
serves him, utters a cry, and falls into a swoon. Her lover makes
his way through the women that surround her, raises her veil,
and discovers his faithful Jessonda. The music employed during
this scene is simple, but of powerftil effect. D'Actiima kneels be-
fore his beloved, and supports her in his arms. She opens btr
eyes, and expresses her rapture at beholding him again. Lost in
their ecstacies, the two lovers do not hear the warning voice 6f the
Bayaderes, who announce the approach of the hiffh priest and the
other Brahmins ; they are aroused from their delirium only fay
their appearance. Enraged at beholding her who is sacred to w
gods in the arms of a man, and he too an enemy, they wish to
tear Jessonda away by force. D'Acunha draws and defends her.
Portuguese and Indians rush in from different sides, and prepare
for an attack. A fine contrast takes places between the two dif-
fwent chorusses, which produces a very striking effect. The high
priest reminds D'Acunha of the truce, and of his promise to allow
the wom^ to pass without interruption. He recalls this to mind
in the deepest anguish. An allegro agitato follows, which is
finely taken up by the chorus of soldiers, who stand menaoing
each othei:. This finale is rich in ideas, originality, and eibct»
and shows Spohr to be a complete master of his art, and deeply
versed in the knowledge of scenic effect.

The introduction of the last act presents a picture of D*Acun-
ha's distracted state of mind, which is happily expressed by
broken and interrupted music, with scattered pieces from the last
finale interwoven, whioh serve to awaken recollections of the part-
ing scene between himself and the object of his love. He is aeen
wandering in melancholy mood along the sea-coast ; in imagiaa*
tion he views his Jessonda expiring in the flames. This is tz-
pressed in a recitative of such power, that we scarcdiy know auy^
thing that will stand in competition with it From a soft, aod
plaintive unisonous movement, the music graduallv advances
through harmonies of the most rare and touching kind, till it ter-
minates in a burst of despair, at the moment when in fancy he
beholds Jessonda throw herself into the flames. At this point he
sinks exhausted into the anps of his friend Ixmei;. The yoimff
priest appears, and announces that the chief of the Brahmins had
himself broken the truce, and had issued an order to set fire, thai
very night, to all the Portuguese ships. These words recall hiiti
to ufe ; and, being released from the obligatk>ns cf the truee kf
the treachery 0f the enemy, he is determined to attack the townj^
and a call to arms of an inspiring nature concludes the soene.
We are next transported to the square in front of the temple of
Brahma, in the centre of which stands the image of file god. it

THE MUSICAL LIBRARY.

is night, and thunder is heard rolling at a distance. From the
interior of the temple the nocturnal hymns of the Brahmins break
upon the ear. The thunder-storm approaches. A procession is
seen moving from the temple, led by a group of wildly-dancing
Bayaderes. They approach the statue of the god, and the chief
Brahmin utters an imprecation of terrible effect. The storm in-
creases; and a thunderbolt shatters into pieces the image of
Brahma. This is attributed to the effect of Jessonda*s guilt, and
it is resolved that she shall immediately be sacrificed. The com-
position of this scene is in the highest degree grand, both with re-
spect to the music and the scenic effect. Jessonda, ornamented
for the sacrifice, appears flying in distraction before the pursuing
Bayaderes.

A grand 9cena and air follow, expressive of the reviving hope of
life, and of being united to her beloved ; this movement is full of
truth, and in a tone of pathos which admirably harmonizes with
the rest of the scene. At this moment Jessonda's sister hurries
in, and announces the approach of their deliverers : the Portu-

fuese storm the town; the chief Brahmin demands the death of
essonda ; the Indians are seen flying in all directions, pursued
by the victors; the Brahmins are forced to retire, Jessonda is
Saved, and a triumphal chorus concludes the piece.

THE PHONOMIME.

This is the name given to an instrument altogether new, not in
form, but in the singular effect of the sound it produces^ which
undoubtedly renders it one of the most remarkable inventions that
has ever been exhibited to the musical world, if the account of its ca-
pabilities be correct ; and we have no reason to suppose it otherwise,
for we have received confirmations of it from different quarters.

This instrument, invented by a mechanist at Vienna, has the
appearance of an organised piano-forte. The keys are the same
io number as our ancient spinnets, — about four octaves — and the
sounds are given from pipes. But, by means which are known
only to the ingenious inventor, these sounds imitate, to a degree of
peifection quite surprising, those of the human voice. This effect,
which so many have attempted to imitate, has never before been
produced so as to deceive an accurate ear. Now the most prac-
tised persons have declared that they can discover no difierence
between the Oiounds of the new instrument, and those of combined
bimian voices.

The Phonomime has four registers,— the soprano, tenor, bary-
ton, and base. Whatever is performed on it gives a result similar
to what is produced by masses of fine male voices, and the auditor
imagines that he hears a chorus sung by men : for the soprano
imitates not a feminine Toice, but a ralsetto. This effect is still
more sensibly felt, when a chorus is executed by several Phono-
mimes in union. Three of these instruments were tried at the
same time, in the house of a distinguished amateur at Vienna.
The Phonomime and performers were placed in a room adjoining
that in which the company had assembled. The illusion was
complete, and by all confessed. Every one thought that the piece
was sung by an excellent choral band ; and the b^uty of the sup-
posed voices, together with the exactness of the performance,
excited unfeigned admiration !

Thus far our accounts from abroad. We will add, that a still
more astonishing discovery in phonics, made by an English phi-
losopher, will very shortly come before the public. It is an
instrument that utters, if we may so express ourselves, an articu-
late language — connected words, which will instantly be admitted
to be as intelli^ble as the human organ of speech can produce.

The word Phonomime is compounded of ^atyfi, sound, and pupMs-,
a mimic.

PHILHARMONIC SOCIETY.
TntST CONCERT, MONDAY, FEBRUARY 23, 1835. ]

AOTX.

New Characterwtie Sinfonia (fiat tine of pu&inMBce) • • Spobr.

Aria, Madame Stockhauten, ' Non mi dir* (// Dwi Giovanm) • Mozart.

Concerto Pianoforte (No. 5.) Mr. Cramer . Crakbr, and the last aD«Ttittent Mozart.
C^tata, Mr. Brabam/ Napoleon*s Midnight Review' . The Chbvaubr NftUKOMM.

^^^a^^'^'T^J"'*^^] r.MB«««o«.BA««.u«.

ACT U.

Ifaniniiaii in D • • •

Miiet, « GUria m Mcehia*

Coneerto Violin, Mr. Blagrore • •

IHietto, Madame Stockhausen and' Mr. Braham, * Fra gU am|atMi * i ir^^s.

^(CW/ aii jtut^) / _~^

Q99dn%f F0mmt .• • • Banflfrrufc

Leader, Mr. F. Cbaiob.'— Conductor, Sir Gsobob Smart.

• • MoiART.

W. HoMLMT, HuBrBac.Onni.
Mou<)us.

With the present concert the twenty-third series of these per-
formances began. The introduction on the first night of a new
composition, which called into action the great capability and
vast strength of this band, was judicious, for it showed the old
subscribers that there was no falling off in the orchestra, and dis-
played to the new ones a precision and power which, we may
safely affirm, they had never before met with in the same degree.
We shall enter at length into an account of this symphony, for
both the composition and the rank of the author entitle it to
full consideration. It is announced as ' A characteristic Sinfonia,
expressive [illustrative] of an Ode to Music, by C. Pfeiffer.*
This ode, originally written in German, and translated for this
society, by Mr. E. Taylor, we insert, without offering any opinion
of its merits.

ODE.
When the spring with gayest colours

Decks the fields in splendour bri^t,
Man, in silent meditation,

Wanders *mid the shades of night :
Nature's wildest impulse guides him,
Not the heart's more gentle sway,
Love no sound had yet awaken'd.
Nature's voice in slumber lay.
Then first Eternal Goodness, silence breaking,

Breathed a soft sound of peace into his breast.
And Nature in her sweetest accents speaking.
Soothed every care within his mind to rest.
The nightingale, from out her silent bower,

Woos his lone spirit with her plaintive love ;
While Nature's mek)dy with soothing power.

Hie gentler passions of his bosom move.
The leafy groves in rustling chorus seem

To whisper harmony — ^the zephyr's sigh
Fills him with longing — and the nppling stream

Murmurs its music as it babbles by.
Tis then the soul with secret ardour swelling

Soars unrepressed by any earthly ti^-<-
And greets Imagination's airy dwelling.

Borne on the wings of triumph to the sky I-—
Holy Sounds ! from heaven descending*

Messengers of peace to earth—
Oh, remain for ever blending

With our sorrow and our mirth.
Sounds ! whkh in our tender yearn
Childhood's little pains begoib,
Dissipate the in&nt's tears,

Tiurn his sorrow to a smile !
Soothed to rest, ye hover o'er him.

Charm his sensca as he sleeps ;
Or like dreams ye pass before himi
While ber vigils Fancy keeps.
Iio! in the youthful and joyous throng,
With magic power your notes invite.
And merrily bounds the foot along

When die dance 'wakens the drowsy night
Soon firom the spirit affliction is banishM,

Quickly tibe traces of grief disappear :
Thoughts that once troubled us all have vanidi'd.
Happiness brightens the fiioe of care.
When night's shadows round us hover,

And no other voice is near.
Then ye soothe the {daintive lover«
Giving utterance to his prayer ;
Blissful sounds ! ve then awaken

Pity in the tender heart.
And the youth, no more forsaken.
Feels the balm which ye impart.
But hark ! 'tis the call to the batUe-field sounding.

With warfike emotion each heart it inspires ;
At the trumpetfs loud summons each snirit is bounding.

While honour and valour enkindle their fires.
No longer he dreams of the fast-coming danger,
But welcomes the peril that threatens his lifey
Pale Fear to his breast is in battle a stranger.
When Victory calls him to join in the strifis.
But when the biittle-cry at length is ended.

And sounds of war are silent on the plain,
Tour welcome notes of peace with glonry Mended,
Conduct him ftora the field ta feat again !
' Then rising on the pinions of devviliiin.

His spirit seeks again the throne of Qfaee ;
And kindled with an unrestrained amotion.
His shouts of triumph yield to songs of praise ! .

THE MUSICAL LIBRARY.

Wben the spirit, faint and broken.

Sinks to earth with care opprest,
Soands of Peace! how oft ye haye spoken

Comfort to the aching breast !
Then ye whisper consoktion,

Bid the soul's vain longing cease—
Tears ye give to tribulation,

And to the departed peace !

Holy Sounds ! are ye bright inspirations,

Visions of bliss that to our dreams are given ?
Oh, are ye children of yon happy dwellings,

The gracious messengers of peace from Heaven ?
Oh stay, sweet magic Sounds ! nor ever leave me,

Tell me of yonder world so bright and fair ;
Oh, if delusive — still, sweet dreams ! deceive me

With the blest thought that I am with ye there !
Xoosed from the fetters that on earth still bind me.

Pain shall no more afflict, nor passion move,
And in oblivion casting ail behind me.

Oh, let me dwell, blest Sounds, with you above !

M. Spohr has, in the following program, described the cha-
racters of the movements, in which he has endeavoured to give
musical expression to the poet's meaning.

FIKIT MOTBimCT.

(Largo) The deep silence of Nature before the creation of Sound.
{AiUgro) The awakening of Life after it.— The voice of Nature,— The uproar of the
Elements.

flBCOND MOTBKSXT.

Cradle Song,— The Dance.-*The Serenade.

TBIRD KOVXmifT.

Martial MutiG — March to Battle. — ^Return of the Gonqueiorf««^Thank8giYing.

VOUBTH MOTBMSNT.

Faneral Dirge,— <!ouflolation in grieC

This last and most laboured work of M. Spohr presents itself
to notice in two points of view : first, as an attempt to describe
;nany things ; next as a musical composition. It may be laid
down as a rule liable to very few exceptions, that musical sounds
can only describe generally, or through the medium of associa-
tion. The singing of birds, the noise of thunder, or of ordnance,
may be imitated in a direct manner ; but with a march we only
associate the idea of a miUtary body in motion ; with a minuet,
only the idea of two persons moving in certain measured and
graceful steps. The chaconne, a dance now fallen into disuse,
we listen to as a simple piece of music, never connecting the idea
of dancing with it, because we never saw it danced. The ranx
des vaches, which used to drive the Swiss mercenary almost to
madness, never in the slightest degree affected the native of any
other country. The one associated with it all the charms of
home ; in the mind of the other it raised no ima^ whatever.
When, therefore, M. Spohr means to excite tne idea of
armed and disciplined bodies, he properly has recourse to
the march; and to the dirge, or funeral march, when he
wishes to raise an image of the sorrow of such bodies for the
loss of their companions. Haydn -certainly has contrived to
excite something like an idea of a state of chaos, in his introduc-
tion to the Creation : we imagine the howling of the wind in
deserts, and the confusion of the elements before the divine fiat
was uttered, and they had ' into order leaped.' Beethoven, too,
in his pastoral symphony, has succeeded in raising several
images. But when M. Spohr pretends to describe ' the deep
silence of nature before the creation of sound^'-^to excite an idea
of silence by means of sound, the absurdity is too manifest to need
demonstration. . His ' Cradle song,' likewise, is little less ridicu-
lous. Let the reader conceive, if he can, a nurse's melody
ushered in by double-bases, and accompanied by the whole
orchestra ! Such gruff music might have been natural enough
from the throat of her who dandled the Titans, but since the
days of Cottus, Briareus, &c., it has, we believe, been universally
repudiated.

We now will proceed to consider this symphony only musically.
It would have been a difficult task for the composer of a work
professing description to dismiss Haydn and Beethoven from his
mind : accordingly we are now and then reminded of both ; but
the praise of much originality is due to M. Spohr. He has
created some passages, and given a new turn and colouring to
several that are become common property. His melodies, though
not always distinct, are occasionally very striking, and in har-
mony he invariably diews himself equal to any master. His

rhythm too, — a very important but much neglected matter — is
here quite regular, and very strongly] marked. In a know-
ledge of the various instruments, and the best mode of employing
them, he has ably maintained the character given him by genend
assent ; and, in a word, the first-rate master is apparent through*
out the work. The first two movements are the least likely to
make any impression ; they are together long, and heavy. The
air of The Cradle &)ng, that part given to the violoncello, is a
sweet melody. The Vance is rather common; the Serenade
full, and highly wrought ; the Martial Music brilliant, and the
March quite splendid; though the Da Capo is too long de-
layed by a tedious digression; but its recurrence is at last
admirably contrived. The Return of the Conquerors has very
little distinct meaning: The Thanksgiving is a well-conceived
movement in the ecclesiastical style, — alia Palestrina. The Dirge
is not very remarkable, and The Consolation in Grief is a tran-
quil, quiet movement, well denoting that state of mind when, as
Ussian expresses it, 'peace dwells in the breast of the sad.* But
prolixity is the besetting sin of the symphony. Every movement
is too long, is attenuated to something bordering on feebleness.
The spirit of his subject is made to evaporate before Mr. Spohr
has the prudence to come to at close. The whole work is fifty
minutes in duration : but it was right to give it in an entire state
at its first performance — the connoisseurs and the public had thus
an opportunity of judging for themselves, and justice was done
to the composer. But now it may be reduced by at least a
quarter of an hour, with advantage to the author, and beneficially
for the lovers of music. So brought within moderate limits, we
shall hope to hear it again, ere the season concludes, when all
the subscribers are in town, and aware that a novelty of this kind
is in the possession of the society. Before taking leave of this
subject we are bound to say, that if we had not previously known
the efficiency of this band, and its superiority over every other,
the performance of the present composition would have been
enough to establish the fact past all contradiction.

Madame Stockhausen sang the lovely scena from Don Cfiovanni
in a simple effective manner : but the first movement of the aria
was too slow; it dragged. Neiikomra's cantata is a composition
that exhibits a rich musical imagination and great judgment : it
is one of the best of his works ; and Mr. Braham made every line
of the poetry, every note of the music, answer well the intent of
the authors. It is a base song, certainly, but though the sweet-
ness of this performer's voice is in the tenor part of it, his compass
enables him to go far into a lower scale.

Mr. Cramer played his beautiful concerto in c minor. Op. 48;
but instead of the last movement, substituted one from a concerto
of Mozart, which in loveliness is equal to any thing that the latter
ever produced. Mr. Cramer's own secona movement, a Lar-
ghetto in c major, is so perfect of its kind, that placed in juxta-
position with Mozart, it nobly maintains its ground. This, we
are aware, is saying much, but not too much, as every impartial
judge will admit. As to the manner in which the whole was
executed, we need only state, that neither in the prime of his
youth, nor at a later period, when experience had perfected his
taste, did he ever exhibit more fire, more refinement, or a more
complete mastery of the instrument.

The motet is creditable to the English school : the solo part
of the Gloria is very melodious, and the accompaniments are
rich and in good keeping. The quintet, too, is full of good har-
mony. Mr. Blagrove, who has been during the last twelve
months studying under Spohr, proved that he has made the
best use of his time. He is now entitled to take his place among
the first performers of the day ; and moreover makes good his
title to this rank by legitimate playing : he exhibits no mounte-
bank's tricks on a sinde string.

The seventh sympnony of Mozart, and the overtures to 27le
Isles of Fingal and Egmont were executed with the utmost
degree of periection. Our space wiU not allow us to say more.

SOCIETY OP BRITISH MUSICIANS.

The sixth and last concert for the season was given on the ninth
of February. The first piece was a new symphony, by Mr. T*
M. Mudie, parts of which were creditable to a young composer.
Mr. A. Roche, with a musical tenor voice, sang a baUad by Mr«-
BlockW. Then followed a selection from ' Mosbs, a MS. oratorio^
by L J/c. Murdie, Mus, Bac.* Miss M. Hawes sang ' Come, let
us fly,* from Nourjahad, very agreeably. A MS. violin quartetj-

THE MUSICAL LIBRARY.

by Mr. H. Westopp, has to boast of one good movement, an
adagio : but no part of it could boast the advantage of being even
tolerably well played. A vocal quintet by Mr. C. Lucas dis-

. played some good and new passages. The second part unfolded
to us an anthem, by Mr. H. P. Hill. We then retired, at more
than half-past ten, leaving nearly all the second part to come !
Thus has terminated the first season of an association combined

•in some respects with a laudable view ; but the exclusion of all
music not by British composers was the great blunder committed
by the founders. Who these were we know not, and have not
enquired. This attempt has certainly not proved that any talent

'of our countrjrmen had, till now, been kept in obscurity for want
of a field wherein to display itself. The best things performed had

.been heard to much greater advantage elsewhere; and had found
no difficulty whatever in obtaining a hearing, because worthy of an
audience. Most of the new pieces produced, pieces never before
performed, would have gainea admission into no other concert but
this ; not from want of patronage, but from an absence of recom-
mendatory qualities. This may sound somewhat severe, but
truth in such a case is the safest and best course, and may lead
to improvement ; while concealment, or that kind of flattery which
is erroneously supposed to give courage to talent, always misleads,
and frequently stops the progress of improvement. So cheap a

.concert may always be sure of subscribers in a great metropolis ;
but who will in any way profit by it, except the lessee of the

.rooms, the wax*chandler, and the door-keepers.

VOCAL SOCIETY.

The managers of this concert are not exclusives, they give vocal
music of ail countries and ages, and generally the best ; though
it is difficult, we are well aware, to resist the importunities of
■ friends, to meet the expectations of performers, and to satisfy the
various and opposing tastes of subscribers. However, those
who act in this situation on a good principle, who understand
their business, and conduct it with firmness and urbanity, will
always please the majority. None can reasonably hope to do
more.

The second vocal concert, on the 2nd of last month, opened
with Dr. Boyce's anthem for eight voices, * O give thanks.' Then
followed one of the finest glees that this, the parent country of
such compositions, can produce, ' Hence all ye vain delights ! *
in listening to which it is not easy to decide whether poet or
musician has the greatest claim to notice. The words evidently
suggested to Milton his melancholy man, — II Penseroso ; and
Webbe has added a musical colouring to the picture, which
makes it as nearly perfect as the uniop of two arts could render
a work of the kind. The lines are so fine, that, though it is
•travelling a little out of our regular road, we cannot resist tlie
wish to insert them. They are from Fletcher's Nice Valour^ or
the Passionate Madman.

Hence ! all you vain deTights,
As short as are the nights

Wherein you spend your folly t
There's nought in this life sweet.
If man were wise to sect,

But only melancholy ; —

Oh, sweetest melancholy !

Weksome folded arms, and fixed eyes,
A sigh that, piercing, mortifies,
(' A look that's fastened to the ground,

A tongue chain'd up, without a sound I***
Fountain heads and pathless groves.
Places which pale passion loves ! —
Moonlight waJks, when all the fowls
Are warmly housed, save bats and owls I

A midnight bell, a parting groan !

These are the sounds we feed upon ;
Then stretch our bones in a still gloomy valley ;
Nothing's so dainty sweet as lovely melancholy.

Morley's &vourite madrigal, * I follow, lo ! the footing,' (the
date 1597) was admirably performed; the pianos and fortes were
nicely observed, and we rejoiced at its being so unanimously
encored. The lovely, gentle duet from Spohr's Faust, ' Segui, o
cara,' (with English words well written and adjusted to it by Mr.
E. Taylor,) proved very effective, though the oand was much too
loud. Mr. Parry, jun. in this was all that could be wished. A

motet for a double choir, by Mendelssohn-Bartholdy, was per-
formed for the first time, and unquestionably is a masterly conr-
position, in the true, the best, ecclesiastical style. It seemed to
us rather slower than the author intends ; but we venture only to
speak generally of this work till after a second hearing, and when
it is better known by the performers. Stafford Smith's glee,
' Return, blest days,' is no less excellent than that by Webbe of
which we have spoken ; but it now suffered martyrdom in per-
formance ; — the alto loud and sharp, one tenor flat, no ensemble ;
we pitied the base, the only one of the party blameless ! The
next piece made amends for the last : nothing could have been
more satisfactory than the manner in which Mr. Hobbs sang
' The Mansion of Peace.' But here again the instruments were
determined to overpower the voice ; and in the unequal struggle
the horn was triumphant. A fine chorus from Handel's Choice
of Hercules followed ; and a delightful, and, mirabile dictu I an
almost unknown quintet by Mozart, — (have the directors of the
Philharmonic Society been dozing all the while ?) — for clarinet,
two violins, viola, and violoncello, admirably performed by
Messrs. Willman, T. Cooke, Dando, Mountain, and Lindley,
concluded the first act.

The second act was not equal in interest to the preceding. A
grand chorus from a mass by Haydn, but with English words,
made a good commencement. Battishill's ' three-part song,
' Ye birds for whom I reared this grove,' though once a favourite,
is not his best ; and it did not altogether go well. Young Howe
sang, in a manner that much pleased, E. Taylor's clever and
agreeable song, ' I'll be a fairy. A madrigal of Rzzoni, < Due
beir occhi,' the date 1575, was charmingly performed, and re^
demanded. To this Mr. Ollphant has written English words,
for the use of the Madrigal Society, which were now used. The
chorus, quartet, &c. from Idomeneo, * Nettuno s'onori,' followed. .
After which came a scena of Rossini and a glee by J. Elliot A
chorus from Purcell's Dido and JEneas was the finale.

The third concert, February 16tb, did not on the whole prove
equal to the former: the first act was the best; it began with
the celebrated motet of Palestrina, to which Dean AJdrich so
well adapted the words ' We have heard with our ears,' &c., a
splendid specimen of this style of composition. Spofforth's de-
hcious glee, set to Sheridan's not less delicious words, ' Mark'd
you her eye of heavenly blue ? ' was tolerably well sung. Mis»
Fostans, a young promising singer, with a rich mezzo-soprano
voice, sang the beautiful aria, ' Frenar vorrei le lagrime, in a
very chaste manner. But either Portoffallo has borrowed the
best part of this from Zingarelli, or the latter has borrowed it
from the former. Morley's madrigal, ' Arise ! awake ! * de-
served the encore it received. A quartet from Winter's Stabat
Mater, a graceful composition, went off extremely well. Call-
cott's justly admired glee, ' Thyrsis, when he left me,' was re-
spectably performed. Neukomm's cantata, Miriam, consists of
an accompanied recitative and an air. The former, to which
Mr. Braham gave every possible effect, evinces deep thought,
great energy, and an enlarged view of the subject. The air is
coniparativeiy feeble; its phrases and cadences anything but
uncommon. Let us do justice to the talent of a young conira*
bassist, or double-base player, Mr. Howell, whose accompani-
ment to this cantata affords us the consoling reflection, that when,
from any cause, we are doomed to lose the giant-master of the
giant instrument, — Dragonetti, his mantle will not want one on
whom it may fall. A trio from Schneider's DelugCy * O er the
mighty waters,' does not rise above mediocrity. Mrs. Anderson
made a brilliant finish to the act, in Hummel's new piano-forte
rondo, ' Le retour k Londres,' which she executed admirably.

The Gloria, from Hummel's second mass, in which MoEart
has evidently been the model, opened the second act, and was
succeeded by a masterly duet of Mayer, very well sung by Miss
Masson and Mr. Bennett. Mr. H. f'hillips then gave Mozart's

* Qui sdegno,' and an encore was the sure resuR. A trio for
three ladies, by Sir G. Smart, was well sung by Miss Woodyatt,
Miss Masson, and Miss Postans. Wil bye's famous madrigal
(1608) richly merited the encore it received. We were then
obliged to depart, leaving part of the finale to Cosi fan tuUe,

* Parte,' from La Clemenxa di TUo, a glee by Horsley, ' O the
sweet contentment,' and the Hunting Chorus, from Haydn's
Seasons, unheard by us; and indeed by others, who found the con*
cert too long; — ^tbe defect of most concerts in this country.

THE MUSICAL LIBRARY.

REVIEW.

4i Gmvp Ssptktto, for iht PiaaM-forUy VwUn^ Tenor^ 'Clarinet,
, Bom^ VMoncMo^ and Double^hauy compomd for the London

FhiiharrnQnio Sodetiy^ and perfornud cU their Coneert» by I. Mo-
. MBixjia. Op. 86. (Cramer and Co.)
8. Grand DuET,ybr two PerformerB on the Piano-forte^ adapted from

ike above Septette, by ditto. (Cramer and Co.)

This Septet was first performed in the season of 1833, and then re*
ceived, as it deserved, great applause from the cognoscenti; though
Bome of its excellencies were, as a matter of course, not fully entered
into on that occasion : for music of such a class requires to he twice
heard, at least, before its design is clearly perceived, and its various
aierits are disdoted.

' Hie first movement is an allegro in d, the subject new and briliiant^
ttnd worked not only elaborately, but ingeniously : the spirit of tiie
composer never abates, from beginning to end, and not an instrument
is allowed to he idle when its assistance can be rendered useful. The
acheno, in o minor, is so original, that, like all music which deviates
much from the beaten path, it seems odd, till tolerably well known.
The passage of simple counterpoint in the major kev, page 23, will,
however, l^ immediately understood and felt by all, wnether learned or
otherwise in the science of harmony ; it operates as a seasonable relief
to the busy gaiety which precedes it, and proves the judgment of the
composer. The adagio, in b flat, which follows, is calculated to make
a deep impression, and is not less distinguished for its taste than its
pathos. The finale, an allegro in n, bounds with joy, and carries every
auditor witii it in the lively progress it makes. None better than
Mr. Moabheles understands the art of finishing with what is immediately
miderstood, and likely to he relished bv all. He invariably leaves his
iMaiers in perfect good humour, though in his beginnings he is often
loo redkercki for the multitude : but at parting be never fails to become
femiliar, and the motion of every head and hand shews the sympathy he
hMB excited.

We hardly need say, that the piano-forte part of the septet is only to
be undertaken by experienced and able players. But in the form of a
duet its difficulty is reduced beyond what seemed possible. We have
rarely, if ever, known an instance in which the performers were enabled
to effect so much at the expense of so little labour. No ordinary
player should attempt the piano-forte part of the septet ; but persons of
a second-rate talent may safely sit down to it, when it assumes Uie form
•of a duet.

Sonata, composed, and dedicaied to his friend, Fred. Kalkbrenner, by
Muzio Clbmenti. Op. 46. (Cramer, Addison, and Co.)

We rejoice to see this first move made by the music publishers towards
a reprint of works in every way so masterly, so beautifiil, as those of
ClementL There is enough in a single sonata of his to supply materials
for a dozen fashioned in the schooln-if it may be called a school— of
Czemy, Herz, and a few other note*splitters. This was composed after
UHich of his fire was expended, when his imagmation did not so readily
answer to his demands, as in his earlier days. For though this sreat
master wrote at least two excellent symphonies after he had published

* his Op, 35, — and it requires much more genius to produce a symphony
than a sonata— yet that work we have always considered not only as
one of his finest^ but the last of the kind in which he shone with undi-
minished lustre. We are,, however, speaking of the present work, as
compared with his best of the same class : compared witb most modem
productions for the instrument, it is as ' Hyperion to a satyr ;' and,

' whether with a riew to improvement, or to please others, this will answer
the purpose far better than nine-tenths of the music that has i^peared
daring the last ten or twelve years.

OtEMixnM to the Opera o/'Les deux Aveogles de Toledo, ^r the Ptano-
forte^ with Flute aooompaniment^ ad lib., composed by Mbhul.
(Chappell.)

nds is one of the most pleasing composittons of a great master^ who is
well known on the continent, and in time will not be less so in this
country. A melodious, welKsustained subject is its cUef feature, and it
ia easy to execute. But let it not on this account be deemed unworthy
the notice of superior players. We can, from experience, assure those
who may have doubts on the subject, that we have seen more pleasure
difiused through a mixed company by this composition, played accu-
rately and with spirit, than 6om many that have acqmred a much
Ugher reputation, and have enabled the performer to make infinitely
more display.

BoMso Brzllamt, pour le Piamh-forte, composi par J. B. CaAJisn,
Mesnbre de TAcademie Royale de Musique d Stockhfdm^ Op. 80,
(Cramer» Addison, and Beale.)

The mesent work is No. 9 of a series of « Moroeaux charactexistiques
et brillants, des nianistes les plus cel^bres,' and mainly consists of a very
sweet aria, as the composer terms it, which, enlarged into a rondo of

ten pages, by the read^ and happy means possessed by the composer*
wflt be no small acquisition to those good performers— for it demaada
superior skill— who every now and then have a thirst for noTehy. A
brilliant iniroduzume offers a very favouring -oontrast to Ibe arte, ti»
latter bemg gentle, and quite vocal in character, the former, bold, eoi
ia the BK)dem instrumental style,

RoNDiNO for the Violoncbjllo, ioith Pianoforte aoeotypanimefd on
an air from Bobert le Dlable, composed by J, J. F. DoTZ^UBt#
Op. 29. (ChappeU.)
This rondino is on the ^r ' Quand je quittus la Normandie,' one of
the very best things in Meyerbeer's opera, which is converted into a
most engaging piece for the violoncello, with a well-digested, easy piano-
forte accompaniment. .

SouYBNiRS DE LA Straniera, dt Bellini, orrangU pour le PtonO-
forte, par L. Niedbrmeyer.

To those who think that any of the airs in La Strcmiera are worth re^
viving in an instrumental form, this publication will prove acceptable,
for it is showy but easy ; and certainly the most that could be extracted
from what we have always thought very meagre subjects, has been ob-
tained firom them by M. Niedermeyer. We have here the substance of
three airs, in eight widely-printed pages ; a moderate compass in the
present day«

Marchb Fantastique for the Harp, compoied by Charles M'Koa-
KBLL. <Cocks and Co.)

We can speak favourably of this bagatelle, because it displays sonle
fancy-— a desire to escape firom the trammels in which so many, almost
unconsciously, continue to labour. This is not the first proof Mr.
M'Korkell has afforded of an active spirit, and we hope that we may
witness many more such instances.

VOCAL.

1. Duet, ' TU rove with thee,' for two trebles; the poetry by G. PriT-
charo ; composed by G. Liyerati. (Lonsdale and Mills.)

2. Duet, * Thy lifo is in its spring-time,' the words by C. JErFRiBS ;
the music by C. Guynemer. (Cramer and Co.)

3. Round, ' The Switzer's welcome,' written by Mrs. C. B. Wzlson;
composed by G. A. Macfarren. (Chappell.)

No. 1 is a very pretty, easy duet, running in thote thirds and sixths that
are so convenient as well as agreeable to amateur singers, and with an
accompaniment of the simplest kind. The composer, as a foreigner,
may be excused for placing unaccented words in the accented part of
the bar : but we recommend all strangers to the accent of our language
to consult some native, able to advise, previously to going into print.

Every word that we have written above is applicable to No. 2.

The round. No. 3, has nothing in it that calls for censure, or that
deserves praise. It is harmless, and may answer the purpose of those
who wish to sing in parts without having acquired much previous know*
Isdge, and may not be Yery industriously inclined.

1. SoNO, * There be none of beauty^s daughters,* the poetry by Lord
Byron, the music by I. Moschelbs. (Cramer and Co.)

2. The Mao Maid's Sono, the poetry by HBaaiCK ; the music by
W. H. Callcott. (Lonsdale and Mills.)

3. The Lily, the poetry by the Countess Blessinqton ; the music by
G. LivERATL (Lonsdale.)

4. The Lay op the Soldier's Bride, the words by Edward Nairne,
Esq., the music by J. Thomson, Esq. (Chappell.)

5. A Sono of the Past, written and composed by J. Auoustinb
Wade, Esq. (Chappell.)

6. Sono, ' I chuse thee not, my Fanny, for thy face ;' the words ^
Harriet Downino ; the music by John Baenbtt. (Chappell.)

7. Cayatina, ' Harik ! 'tis the waterfaU P the poetry by T. H. Bayly,
Esq., the music by Alex. Lbb. (Chappell.)

8. Sono, ' Hark I I hear the Bugle's note /' composed by G. A. Hod-
son. (Chappell.)

In setting No. 1, Mr. Moscheles has caught much of the poet's spirit.
It is no less remarkable than flattering that a foreigner should have made
himself so well acquaintod with our language— the language too of our
poetry. Not an error in emphasis, not a &lse accent, is to be dis-
covered m any part of this song. Would that we could say the same
of what many of oar native coroposera pioduee I In the music of thia
is the same depth of feeling that the words so deariy indicate ; and
Byron, could he hear these notes, would say, that the composer haa
translated his thoughts into nnisica) language. This leads us to heme
that Mr. Moscheles will soon again take up one of our Poets. Ave
recommend him to read aome of Uie best lyric writers of the EIisabetha&
age.

THE MUSICAL LIBRARY.

Hie words of No. 2 are not so eaiily let to music as the nonsense
mnm put inio most composers' hands, — and hy them rarely discovered
to be iMHiseiise* Mr. Cailcott, who well knows how to read his author,
bss Bol altogether &iled in this, but his succeu has been less than has
attended some of his other efforts.

Lady Blessington*s Torses to Miss Bury were not intended to be lyri-
cal, great as their other merit may be, and Signor laverati was unfortu-
imte in undertaking to set them; it follows, therefore, that, in our
opinion, he has failed in the attempt : though it is &ir to add, that our
belief is, that no one would have met with greater success.

Na 4 is set with great feeling, much taste, and in a most musician-
Bke manner: in one respect too much like a musician, for the only de-
fect it exhibits is at the words, ^ When the tempest raves on high,^ which,
though not meant to be descriptive, the composer has accompanied with
a tempestuous base of demisemiquavers, much to the grief of all common-
ffense people who possess the song.

No. 5 is a simple, easy, pleasing ballad, but none must be disappointed
aft not meeting with much originality in it.

^' No 6 is pleasing if not new in melody, but the aoceMQatioB fai many
places is very strikingly erroneous.

No. 7 has been sung at a public theatre, it seems, and by a favorite
performer; with what success is not stated: but- we feel oempelled to
say, that words set with so little regard to their ^eonnezioo with each
other, so wholly in defiance of meaning and accent, we have seldom had
the ill fortune to encounter.

No. 8 is a lively, pretty, dancing melody; easy, and 8«ie of weleoBie,
if only sung in time and tune.

Song, ' For never are men half so frigbtM,

As when they have all their own way.*

5i/ng hy Mad. Festris^ in Mr. C. Dance's BwrleUaf * How to get

off.' The symphonies and accompaniments by J. H. Tully. {Md

hy the principal mnsic-^lers,)
Concerning the merits of this sftng, the Times newspaper expressed a
Tery honest and correct opinion ; not a very favourable one, certainly*
But the preface to it is entertaining, and, moreover, instructive ; it lets
us behind the curtain rather unexpectedly, and exhibits certain theatrical
machinery which accounts for the lyrical nonsense frequently introduced
on the stage ; though it by no means explains why the pnblie so com-
monly not only tolerate, but applaud, the absurdities served up to them.

This preface is so explanatory that we give it in an entire state ; aad
must confess, that the author's argument appears to us irrefragable.

*It is with much reluctance thai I print, with this song, an outline of
die peculiar circumstances attending its publication ; — but no alternative
is left me. The title-page deseribra it as being sung by Madame Vee-
tris, in my Burletta, called ** How to get off," and it is noi sung by her ;
for this variation I am bound to account.

' Having been informed by Madame Vestris (for the ftrsi time during
the five seasons I have written for her theatre) that, in the event of my
publishing this song, she should expect to be paid for singing it ; and
naving answered in a tone of unaffected surprise at so extraordinary a
demand, she replied, that payment was not to come from me, but from
the publisher.

* I should here observe, that although no precise amount was men-
tioned, I am justified in believing that twenty pounds was the sum ex-
pected.

* Finding that the song was much applauded, and frequently encored,
I applied to two of the most respectable music-sellers in London, to
know whether they were willing to give me whatever we might mutually
]|gree upon as fair terms for the song, and to pay Madame Vestris besides
a sum of money for singing it. Tlie answer was much the same in both
cases : *' We cannot pay you and her both." As it was thus evident
that the money Tnust come out of my pocket, I imagined that I had only
to make Madame Vestris aware of the fact, to cause an instant with-
drawal of the demand ; and I was not a lititle astonished to find it per-
fibted in.

* It was in vani that I urged every argument which suggested itself to
ne. Among others, that it was a demand unsustained by reason, justice,
or precedent ; — that it was Madame Vestris^s duty as an actress to sing
the song which belonged to her part ; and that in seeking to be paid
extra for doing so, she was taking advantage of her position as lessiee,
to do that which, as lessee, she would assuredly prevent any other
singer from doing ; — that making an author pay her in her capacity of
singer, for singing his own song in his own piece, was neither more nor
less than making him repay her that which, in her capacity of lessee, she
had paid him for writing it.

* These and fif^y other arguments were constantly met by Madame
Vestris's representative, with a simple repetition of the old assertioo,-^-
** Madame Vestris wiU be paid — she does not want you to pay her, but

she will be paid.'* At length came the alternative, — *^ or, she will not
sing the song."

*I now determined to reduce the question within the munNyfVwt pe#»
sible Ihnits, by publiriitng the song on my own account, and at my own
sole risk. I gave notice that I should do so, and imraedialely aftsrwarde
(I believe on the twenty*eighth night of the barletla) Madaom Vestai
omitied (ke song.

* I feel soiry for the management which could thoa deltbemtely tesb
to hriure mO) hf dimtnishing die sale of my song, at die very tine when
my fifteenth suooessful piece was assisting nightly to fill the theatee^ but
I have no feeling of anger to gmtify.

* I wish Madame Vestris aad her theatre every possible suooese
from those sooites of g^n which properly belong toheneI( but| for the
sake of justice and equity, I trust and believe that my brother ckamati^
authors will resist any demand of this nature, as I have done, if the
lessee herself, or any other singer shall hereafter be so ill-advised aa to
make It.

< Chaelbs Dancb.'
* IS, Maribarough Square^ Chelsea/

FOREIGN MUSICAL REPORT-
BERLIN.

A NEW singer. Mile. Kolmetz, made her appearance here on the Slst of
October, at the Theatre Royal, in the part of Emmeline in the Swiss
Family. Her voice is good, and her acting for a beginner very merito*
rious ; she was applauded and called for with great spirit by the audience.
On the 3rd of November, MM. Ries, Maurer, B5hmer, and Just com*
menced their quartets for the winter season. On the 5th, M.M. C«
Moser opened his instrumental concerts, and performed Haydn's quartet
in c, with the variations on ' God preserve tiie Emperor;' another by
Mozart in the same key with the celebrated enharmonic introduction,
and Beethoven's first quartet in r major.

A concert was given at the theatre on the 6th of November, which was
remarkable for a violin contest between M. Pott and M. Ries, but to
whom the palm is to be adjudged is yet undecided. Madlle. Kolmetz
again made her appearance on this occasion, as well as at a concert
given on the following Saturday by M. Pott ; however, she is scarcely^
matured enough for a concert singer.

The celebrated Lafont gave his first concert in the saloon of the^
theatre, on Monday, November the 17th : this was not so well at-
tended as we could wish ; however, his second and third took place on
the 2nd and 12th of December, when he met with the most distin-
guished applause.

Among the most interesting occurrences of the active month of
November we may record the revival of Gluck's'oratorio of Behhazzar :
as it is extremely long, the process of curtailing might be adopted with
success, especially as, together with many beauties, it contains much
which time has antiquated.

Mad. Holst-Friedrichs from London, and a new singer Madlle*
Lithander, appeared on the 24 th of November at a concert given by the
brothers Ganz. The former lady gave a concert on the 1st of De-
cember, in which she much distinguished herself by her performance
on the pedal harp.

The activity of the musical world began to decline here towards the
middle of December. Perhaps the most interesting occurrences were
a concert given by the music- director Grell, in commemoration of
Zelter's birth-day ; and the celebration of Beethoven's birth-day by M.
Moser : on which occasion M. Tauber played that composer's fine con-
certo in c minor, and M. Bader sang the song of ' IlerM mein herz* '
(Heart, my heart). We rejoice to say that the room was crowded to-
excess.

We have said nothing of the theatrical branch of music, except the
debut of Madlle. Kolmetz. The occurrences of that class were as follow.
On the 18th of November M. Wuvdaf, from the Grand Ducal Theatre at
Strelitz, made his appearance in Zampa : his voice ie a fine tenor, and
on the whole we may pronounce him promising ; he has since appeared
in OteUo. A new opera, a great favourite with the Italians, The Neio
FigaiM, hy Ricci, has been produced at the Kdnigsstadt. Ricci ia
neither so good nor so bad a composer as BellinL The opera, however,
as a critic somewhat humorously observes, * has a leading fiiult ; it ia
so tedious, that it may be recommended as a homoSpathic remedy for
the locked jaw, which, as is well known, sometimes arises from yawn-
ing.' Madlle. Stephan has appeared at the Theatre Royal as the
Countess in Figaro, and sung but indifferently: she was forced to
transpose two airs, and even then could not produce the high notes.
M. Eichberger has appeared in the part of Nadori.

Though perhaps not strictly coming under the head of intelligence^
we must not omit to mention a new Dictionary of Greek Music, the
prospectus of which has been issued by Schlesinger; the author is M«
F. V. Drieberg. It may not also be uninteresting to the English to
know that Byron's Hebrew Melodies have been translated into German,
and set to music by M. C. LOwe*.

* One of these, the besC, has appealed m the Musical Lzbbabt,

THE MUSICAL LIBRARY.

WEIMAR.

Tlie Hof Kapell concert took place at the Grand Ducal Theatre, on
the 9di of November, and was attended by a numerous audience, some of
wbom even came from a remote distance; so great is the interest
which these concerts excite. It opened with Beethoven's Pastoral
Symphony, which was executed in a style that perhaps was never heard
before, the great Hummel being conductor. It was gratifying to
observe the profound attention of the public, whose sympathy with the
music gradually increased, and who accompanied the close of every move-
ment with the liveliest bursts of applause : a proof against the opinion
of those who think that Beethoven's symphonies (the three first ex-
cited) are utterly unfit for the public at large. The other pieces were,
Gtuck und Treue (Fortune and Fidelity), a song by Paul Fleming. —
This is composed in a Bimple style, and was well sung by M. Genast ;
a duet from Bellini's Piraia^ finely and tastefully sung by Madlle.
Schmidt and Mad. Eberwein ; an adagio and polonaise for two violon-
cellos by Dotzauer, played with much applause by MM. Apel and
Ulrich. The second act was somewhat too long ; the pieces were,
the somewhat hackneyed finale of Mozart's symphony in c major, which
might as well have been omitted, as these isolated finales have much
the same effect as the last scene of a play ; a cavatina with chorus from
Rossini's Bianca e Faliero, sung most admirably by a very accomplished
singer. Mad. Streit. An andante with variations by Flad, played by
M. Hiittenrauch. Another Italian air by Mercadante, excellently sung
by Madlle. Schmidt. We must not forget to say that a whisper was
heard saying, * That piece has been sung already V and the whisperer was
not altogether wrong, for the modem Italian airs are as similar as egg
to egg. Good heavens ! is our German music so poor that we must
patch it up with this foreign trash ! The audience were however re-
Iresbed by an ImprovUcUion on the piano by M. HummeL

VIENNA.
On the 6th of November the great musical festival was held : five
hundred voices and three hundred and fifty instruments were exerted on
this occasion to perform Handel's oratorio of BeUhazzar, They went
through their parts with an accuracy almost unequalled. The Empress
and some members of the imperial family attended.

CASSEL.

It is with regret that we have to state the death of Doretta Spohr,
wife of the celebrated Kapellmeister, which took place on the 20th of
November. She was a daughter of the musician Scheidler, and born
at Gotha on the 2nd of May, 1786. In the year 1806 she was married
to Spohr. She was always a distinguished player on the harp, but
after her marriage attained still greater perfection, and accompanied
her husband on many travels, who, for the sake of playing with her,
arranged many difiicult pieces for the harp and violin. Mad. Spohr
was the first female harpist who could vie with the French and Italian
Longhi, Pollet and D^mars, whom she in many respects excelled. In
the year 18*26 she was forced to give up the harp on account of the
weakness of her nerves, but since that time she occasionally appeared as
an accomplished player on the piano-forte.

DUSSELDORF.

The series of concerts announced by the Musical Union commenced
on the 23rd of October, under the direction of M. F. Mendelssohn Bar-
tfaoldy.

MUNSTER.

The third musical festival was held in the great Lutheran church on
the noon of the 2nd of October. About 800 professors from the ad-
joining and even distant parts were there. The ten vocal pieces which
were performed were by the most distinguished composers, and went off
with considerable success under the conduct of M. Engelhardt, the mu-
sical professor from Soest. It would be well if similar festivals were
held in various parts of Germany, and even of our district, for not only
do they excite a transient pleasure, but lay a deep foundation for the im-
provement of church singing, which with us has sunk to so low a grade.

On the 28rd of November the Musical Union celebrated the Cecilian
festival, by the performance of Haydn's CreeUion, On the whole, both
solos and chorusses did great credit to the Union, as well as to the
talents of M. Music-director Schindler.

LEIPZIG.

The university has (honoris causa) bestowed on the royal Hanoverian
Eapellmeister, M. H. A. Marschner, of Zittau, the dignity of Doctor of
Philosophy and Master of Arts.

NEUCHATEL.

On the 20th of November, M. Kr&hmer from Vienna, first oboe'
player at the Imperial Hoftheater, and his wife^ a player on the violin
and clarinet, gave a concert, which was received with the most tumul-
tuous applause.

M. Krahmer is in possession of three manuscripts of those Grerman
heroes, Mozart, Haydn, and Beethoven. On the 3rd of last September,
at the concert held in Mozart's native town, and in the presence of Mo* '
zart's widow, these compositions were performed, together with several
others by the same great masters.

HALLE.

On the 17th of November the Musical Union gave their second great
concert, under the direction of M. Schmidt. Kalliwoda's first symphony,
and Spohr's oratorio Die letzten Dinge^ were performed. The solos were
sung by Mad. Schmidt, M. Nauenberg, and two diUttaiiti,
MAGDEBURG.

Our winter concerts were distinguished by the very successful perform-
ance of Beethoven's symphony in c minor, and Kalliwoda*s symphony in
F minor. Beethoven's symphonies in c, b, and d major did not go off
so well. M. Schapler, an excellent violoncellii»t, played a concerto by
Romberg in first-rate style; and Mile. Clara Wieck, the distinguished
pianist ^om Leipzig, met with the greatest applause. This young lady
played several compositions by Pixis, Herz, Chopin, and Beethoven's
trio in b major.

MILAN.

Mad. Malibran concluded her engagement at the Teatro alia Scala
with Bellini's Norma. At the conclusion she was called for eighteen
times.

PARIS.

M. Zimmermann has given several musical soiries, the last of which
was dedicated to the memory of Boieldieu. The distinguished singers
Ponchard, Rubini, Mad. Ponchard, Martin, &c., sang pieces by this
great composer. Rossini presided at the piano. The greatest ]!art of
the musical and literary world was present.

Marliani's opera, Le Marchand Forain, (the Foreign Merchant) has
not been so successful as his Bravo, -The overture is but poor.

At the last concert given by M. Berlioz, M. Panoska. the German
violinist, appeared for the first time since his arrival in this metropolis.
He played a fantasia on Gretry*8 well known theme from Richard
Cosur deLion^ unejievre 6n£/a/t/«, which was received with the greatest
applause. This concert was also distinguished by the appearance of
Mad. Willien Bordogni, daughter of the celebrated tenor, and educated
in his school.

Signora Brambilla (who was engaged some seasons ago in London)
has appeared in La Semiramide^ as Arsace. Her powers are liraitedy
and her success has been but moderate.

NAPLES.

The performance of Mile. Caroline Ungher in Parinina has been
the source of much difference of opinion. The truth is. that she is a
singer of mediocre talent. Some things she does tolerably well ; others
as much the reverse. But the critics here are influenced in various
ways ; and not a few write without having any of the requisite qualifica-
tions for judging. Mile. Ungher is engaged at the Teatro Valle^ at
Rome, for the Carnival.

The company which administer the affairs of the royal theatres ought
to engage Donzelli, or Rubini, for the want of a good tenor is much
felt.

VENICE.

A Signora Elisa Toccani has appeared in the Sonnambula, and dis-
played talents of the first order, both as actress and 8iii;:er. She has
been most warmly applauded.

BOLOGNA

Anna Bolena continues to be continually performed. Donzelli, in
the part of Percy, has almost re-created the character. His style is
quite the opposite of Rubini*s, who fritters everything away into
roulades.

MADRID.

Signora Elmerinda Manzocchi is engaged at the Theatre Royal, for
the seasons of 1835 and 1835.

ERRATA.

No, XI. of the Supplement to the Musical Library, page 11. In the Report
headed < Berlin,' for ' Mad. Krelinger,* read ' Mad. C'relmger,' In the Re|)Oxt
headed ' Konisberg,' for < Protectorate/ read * Prorectorute,'

LONDON : CHARLES KNIGHT, 22, LUD6ATE STREBT.

FaamD bz WILLIAM CLOWSSi Dou Stubt, LittBirn.

MUSICAIi lilBRARY.

No. XIII. APRIL, 1835. Price Sixpence.

Tvfe

The Music of Part XIIi; 25

On Music as an Amusement foi the lower orders 27

Moiart'sSons 29

Haydn's and Mozart's Masses 29

CONTENTS.

Amateur Musical Festival 30

Ancient Concerts 31

Philharmonic Concerts 32

Vocal Society ••.«••••• 33

PaM

Royal Academy of Music 34

Review 34

Foreign Musical Report 35

Drama 36

THE MUSIC OP PART XIII.

Sbyenth Quartet, from the Oratorio, The Last Words from
the CfMS.— (Page 37).

Composed by Haydn, and, we believe, thus arranged by him-
self for the piano-forte, under the title of ' Seventh Sonata,' &c.

The oratorio. Die Wortb des Erlosers am Kreutze, {The
Redeemer's FTords from the Cross) is published in score, at Leip-
riff ; and prefixed to it is a notice, by the composer, dated Vienna,
March, 1801, giving an account of the work. From this it appears
that about the year 1786 Haydn was applied to by a canon of
the cathedral at Cadiz, to compose an instrumental work descrip-
tive of the Seven Words (sentences) of our Saviour on the Cross.

It was (says Haydn) at that time the custom, during every
Lent, to perform an oratorio in the principal church at Cadiz, to
the effect of which certain preparations and ceremonies much
contributed. The walls and columns of the church were covered
with black cloth, and one great lamp, suspended in the middle,
alone broke into the sacred darkness. At noon all the doors
were closed ; and now the music commenced. After an appro-
priate overture, the bishop entered the pulpit, uttered one of the
seven words (sentences), and commented thereon. He then de-
scended, and fell on his knees before the altar. During this pause
the music was resumed. The bishop continued to ascend, de-
scend, and prostrate himself seven times, and the orchestra re-com-
menced its performance at the conclusion of each of his orations.

The work, continues the composer, which I was desired to
produce, was to be suited to this ceremonial. To make seven
adaffios, of exactly ten minutes each, follow, without wearying
the hearers, was a task of no ordinary difficulty ; and I soon
found that I could not be strict to the time prescribed.

The music was originally instrumental, and has been printed in
this form. Subsequently I was induced (continues Haydn) to
add the words, so that the oratorio. The Words of the Redeemer on
the Cross, now appears for the first time as a complete and, con-
sidered vocally, perfectly new work, at MM. Breitkoff'a and
Hartell's, at Leipzig. The favour with which discerning con-
noisseurs have received this composition, leads me to hope that
it will not fail in its effect on the public at large.

(Signed) Joseph Haydk.

The sentence amplified in the words of this quartet in its vocal
state, is —

In manus tuas, Domine, commendo Spiritum meum.

These are first sung in simple counterpoint, as a choral; or,
more strictly, as a Gregorian chant. Our readers will not be
displeased to meet with it in the Supplement to the Musical
Library.

Soprano
Alto

Tenor
Basso

ffe

terl

-^^

2£

-0| O)

men • do spi

n v^

tain me

A.^^^AiJ.J.

:c?:

331

The text thus given out, musically, is followed by the lovely
quartet, (now adopted as a sonata) with full orchestral accom-
paniments.

Choruses — (Pages 40, 42).

Worthy is the Lamb that was slain, and hath redeemed us to God by
his blood, to receive power, and riches, and wisdom, and strength, and
honour, and glory, and blessing.

Blessing and honour, glory, and power be unto Him that sitteth upon
the throne, and unto the Lamb, for ever and ever I
Amen. {Revelatiom^ v. 12, 13.)

The choruses, forming three movements, it is almost super-
fluous to say, conclude the oratorio of The Messiah.

Canzonetta k quatre Mains— (Page 44).

Such a title, bestowed on an instrumental composition, may
excite some surprise, and, it must be oonfessed, borders on whini'
sicality. The duet is formed out of a movement in a
quartet, by the composer himself, M

violin
Mendelssohn-Bar-

tholdy.'

Vol. II.

Rondo— (Page 48).

This is one of the single pieces of Beethoven ; — it constitutes
no part of any other work.

KoMANZA — (Page 37).

L'ombrosa notte vien,

£ spande il sacro velo !

Tu seconda, cielo,
Gli affetti del mio cor.
Decide omai quest'ora

Di mia felicitit,
Lo sposa che m'adora,

Alfin pur mio sarii.

Affetti del mio cor,

Tacete affetti miei !

Vieni tu, che sei
II caro mio tesor :
Decide omai, &c«

* Where no biographical notice of a composer appean, it will be found that ht
hat been mentionea in a former Tolume or paj^. ^

THE MUSICAL LIBRARY.

From the heroi-comic opera of Matihie von Gime, act iii ;
fomposed by J. N. Hummel.

Cahzonbt — (Page 38),

She never told her love.

But let concealment, like a worm i' the bud.
Feed on her damask cheek. . . •

She sat like Patience on a monument.
Smiling at Grief.

From Shakspeare's Twelfth Night, act iii. scene 4. Viola,
disguised as Cesario, describes her own situation, under pretence
that it was her sister's, to the Duke, of whom she is enamoured^
and, unknown by him, is acting as his page.

It was a bold attempt to set words having so little of the lyric
character in them; but Haydn knew his own strength, and
triumphed over a difficulty which only so vast a genius could
successfully have encountered. This is from his second set of
canzonets.

Glee— (Page 40).

You gave me your heart t' other day,

I thought it as safe as my own :
1 've not lost it ; but — what shall I say ?—

Not your >ieart from mine can be known.

Written by Joseph Cradock, Esq., F.S.A., whose entertain-
ing and interesting Literary and Miscellaneous Memoirs are
pretty generally known. The composer is Samuel Webbe : he
obtained for this glee the prize gold medal from the Catch Club^
in 1776.

Air— (Page 42) .

1.
Blow, blow, thou winter wind.
Thou art not so unkind
As man^s ingratitude ;
Thy tooth is not so keen,
Because thou art not seen.
Although thy breath be rude.
Heigh, ho ! sing, heigh, ho ! unto the green holly ;
Most friendship is feigning, most loving mere folly*
Then heigh, ho, the holly !
This life is most jolly.

Freeze, freeze, thou bitter sky,
Hiou dost not bite so nigh

As benefits forgot :
Though thou the waters warp,
Thv sting is not so sharp

As friend remember'd not.
Heigh, ho ! sing heigh, ho ! &c.

The son^ oi Amiens, in act iii. scene 8, of Shakspeare^s As you
Like it. Amiens is one of the lords attendant on the banished
Duke^ and evidently introduced only for the purpose of enliven-
ingthe scene by his vocal talent.

The first part of the air is by Dr. Arne. The accompaniment
to the first stanza is now made out from the composer's base; and
that to the second, as well as the whole of the last movement,
• Then heigh, ho/ &c., is by William Linlet, Esq., from his
Dramatic Songs of Shakspeare.

Death Song of the Cherokee Indians — (Page 45).

The sun sets in night, and the stars shun the day.
But glory remains when their lights fade away.
Begin, ye tormentors, your threats are in vain.
For thie son of Alknomook shall never complain.

Remember the arrows he shot from his bow !
Kemember the chiefs by his hatchet laid low ! '
Why so slow ? — do ye wait till I shrink from the pab?
No ! the son of Alknomook will never complain*

Bemember the wood where in ambosh we lay.
And the scalps which we bore from your nation away !
Now the flame rises fast, you exult in my pain,
But the son of Alknomook can never complain.
I go to the land wheie my father is gone.
His ghost shall rejoice in the fame of his son.
Death comes like a friend, he relieves me from pain.
And thy son, O Alknomook ! has 8Com*d to complain.

These energetic verses are from the pen of the accomplished

ANNE home,

(sister of the late Sip Everard Home) afterwards wife of tha
justly-celebrated John Hunter. Among many elegant poetical
efiusions of the same lady, are the words to Haydn*s first set of
six canzonets. To her we are also indebted for a small thin
volume, which appeared about sixty years ago, under the title of
Nine Canzonets ftir Two Voices, and Six Airs, by a Lady.
To which is added the Death Song of the Cherokee Indians,
now first published by the Author. Among these is the duet>
once so popular, ^ In airy dreams.' And therein is also given, by
the autnor, the following account of the above song: — 'The
Death Song of the Cherokee Indians, though not much of a piece
with the rest of the publication, has been added by the desire of
persons whose taste and judgment have some weight with the
author. This simple melody was brought to England, ten year^
ago, by a gentleman named Turner, who had (owing to some
singular events in his life) spent nine years among the natives of
America. He assured the author that it was peculiar to tha(i
tribe, or nation, called the Cherokees, and that they chanted it to
a barbarous jargon implying contempt for their enemies, in the
moments of torture and death. The words here annexed have
been thought characteristic of the spirit and sentiments of those
brave savages. We look upon the fierce and stubborn courage
of the dying Indian with a mixture of respect, pity, and horror ;
and it is to those sentiments in the breast of the hearer that the
Death Song must owe its effect.'

That something like the melody published by Miss Home may
have been sung in the moments of death by the rude Indians^ we
are willing to believe, but that it received much polish in passing
through the hands of both the ' gentleman named Turner,' and
Miss Home, is too obvious to be denied. In fact, in its present
form, it is as elegant and impressive an air, as modem European
ballad music can boast. We have little hesitation in ascribing
its best qualities to Miss Home.

Duet— (Page 46.)

Fausi.

Still confiding, ever loving,

Freely follow; we'll away !
Through yon lonely meadows roving^
Dearest, let us joyous stray.
Roia, Yes, I follow, ever loving,

Feats and scruples melt away ;
Through yon lonely meadows roving.

Freely, dearest, will I »tray.
Ah, new transports fill my breast.
There to dwell with thee united !
Heart for heart to give delighted*
Thus with love, with pleasure blest
There no eye, no tongue shall curb us.
Dearest, no restraint shall bind.
Rosa. No ! The soul should tell its feelings,

Ever free and unconfined.
Both, Ah ! new transports, &c.

Translated by John Oxenford, Esq., from Goethe's Fatut^ as al*
tered and put into an operatic form. The music by LuDWU»
Sfohr.

Both.

Faust.

Song— (Pagb 50).

Down by the river there grows a green willow ;

Sing all for my true love, my true love, O!
I'll weep oat the night there, the bank for my pillow.

And all for mv true love, my true loye, O !
When bleak blow the winds, md tempests are beatings
V\\ count all the clouds, as I mark them retreating,—
For true lovers' joys, well-a-day ! are as fleeting.
Sing O for my true love, &c.

THE MUSICAL LIBRAHY.

MaU«. come in pity, when I am departed ;

Sing all for my true love, &c.
When dead on the bank I am found, broken-hearted,

And all for my true love, &c.
Make me a grave, all the while the wind's blowing,
Clote to the stream, where my tears once were flowing,
And over my corse, keep the green willow growing,

Tis all for my true love, &c.

Sung by Barbarck, in Colman's Iron Chest, when she is alarmed
«t the dangers to which her lover, Wilfordy is exposed. The cha-
racter was represented by Signora Storace^ who sang this beautiful
ballad, as well as the other musical pieces in the part, with a
feeling and taste that are still spoken of with enthusiasm by those
who witnessed and recollect the effect she produced. The music
is one of the many happy compositions of Stephen Storage.

Aria— (Page 52).

Bendi il serene al ci^lio,

Madre, non pianger piil.
Temer d'alcun periglio

Oggi come peroi tu ?

Rendi, &c.

Prom the opera of Souarme, written by Matted Norris*. El-
fnira, daughter of HaUarte, king of Lydia, in the above words
addresses her mother, Erenice, who is alarmed for the fate of both
her royal husband and her son, the latter, deceived by appear-
ances, being in open rebellion against his father. The drama ends
happily.

The music was composed by Handel, and produced at the
Kin^*s Theatre in ] 732. The present aria, which, with the ex-
ception of ' Fra I'orabre,' is the only one in the opera that has
survived, was sung by Signora Strada in the key of b. Dr. Arnold
transposed it into B flat, and adapted the words, ^ Lord, remember
David,' to it, for the pasiiccfo oratorio. The Redemption. It now is
transposed into a, to suit the generality of soprano voices ; and we
may take this opportunity to observe that, owing to the rise in con-
cert pitch, w^hicn has been very gradual but unceasing, for a
Dumber of years past, the probability i^ that there is the difference
of nearly a whole tone between our concert pitch, and that adopted
a century ago.

ON MUSIC AS AN AMUSEMENT FOR THE
LOWER ORDERS.

Ik this country we are, generally speaking, utterly ignorant of the
progress making by music among the people on the Continent, of
the improvement which it has wrought in their morals, and of the
large addition it has made to their happiness. It has long been
confessed, that to the superiority of Catholic chiut^h music over
-our parochial psalmody, is to be attributed the superior aptitude
and taste for harmony so conspicuous in Catholic countries : but
this furnishes no reason why we should be so far behind — as we
notoriously ar^ — ^the Lutherans, Protestants, and other sects in
Germany, Switzerland, &c. To the impolitic neglect of music in
our churches— or, rather, to the distasteful form it there commonly
assumes— -our backwardness may in some degree be imputed; but
en our police laws, and on the harsh manner in which they are fre-
quently administered, the blame chiefly rests. These, rigorously
interpreted as they too often are by the magistrates, especially by
those of the metropolitan districts, virtually forbid the innocent
Kcreation of music, by refusing licenses to such houses as provide
it for the amusement of their customers; thus compelling the
lower orders-— who have as much right as the upper classes to en-
Joy a reasonable share of relaxation — ^to spend their leisure hours
wholly in f^ross sensuality, in drinking, instead of passing most of
that time m an indulgence which, to say the least of it, is innox-
ious, and in which, under prudent regidations, their wives and
children might participate.

It has, however, been objected that it is dangerous to tempt
ipen to introduce their &milies at the public-house. Granted,
while none can enter such place, except for the purpose of drinks
ing — drinking by compulsion — in proportion to the house-room

^ '■ I ' ■ . ■ t III ■ I I - ■ ■ ■ I ■ M I I . I ■ ■ ■ II _ .

■ * <Th« original title of this operm,' Dr. Burney telU ut, 'was Alphon» Primo : but
Handel, after adhering to the authoi's dramatia pertotut when he fint set the music,
dmged aU the names in Us fiml scoie, before it waa peiftrmeiL' — (Hisi, of Mwtic,
t^4$7, «ielcJ

and time occupied. But if a family were allowed to pay a small
sum, say three-pence, for beer, and as much to hear a song, a
sonata, and a glee, the whole party would be better both in body
and mind for so temperate a refreshment, and so rational an en-
tertainment: they would be happier, and therefore work with
more effect, because, with more alacrity, and obey ' those placed
in authority over them ' with more cheerfulness.

Still there are some who will not be reconciled to the working-
man's club-house, — ^to his Brookes*s, his Athenaeum, his Carlton^
i. e., his public-house, however fairly licensed and well reg^ulatedk
Will these persons permit him to enjoy a little music in tne open
street, where he can procure nothing to intoxicate, or even to
quench his thirst, except rain-water ? No — a recent act of par-
liament forbids music in the street, in a no less peremptory man^
ner, than that in which the magistrates prohibit it in the public-
house. The fact cannot be denied, as the following case, reported
some time back from the Marlborough-street pdice office, will
show : —

* William Henry and Joseph Perrigalli, a couple of street rouaicianSv
were charged with having created a mob by playing in the public streets*
and with having resisted the police, who attempted to remove them; and
two respectable tradesmen in Jermyn-street, named O'Hara and Duncan^
were also charged with having assaulted Uie nolice, and attempted to
rescue the other defendants from custody. — It had been the practice for
some time of the musical defendants to station themselves in Jeraiyn-
street, and to amuse the inhabitants by a gratuitous concert Some of
the residents wished to have them removed. Others, more musically
disposed, insisted upon the musicians being suffered to play. — Last
Saturday night it was determined to bring the matter to an issue ; ae*
cordingly. about ten o'clock, when some thirty or forty persons were
assembled in Jermyn-street, listening to the strains of the musicians, &
policeman made his appearance, and ordered the performers to move on.
The spectators espoused the cause of the musicians, upon which the
policeman went for assistance, captured the fiddlers, and took off also the
other two defendants, because they were taking an active part in the
proceedings. — Mr. Chambers said that the musical defendants had by
playing in the pubtic streets, according to the recent act of Parliament,
become vagrants, and therefore the police constables had a right to re-
move them, especially as it had been shown that an obstruction had been
created. He should therefore direct them to put in bail for resisting the
constables.'

A Sunday paper, at about the time when this act of vagrancy
was committed, made some excellent remarks on the subject.
' The word obstruction,' the writer observes, ' has different senses,

according to the context An obstruction in the streets

is associated with woriiin^ jackets, worsted stockings,' &c. But
let us see how the benevolent mind of a Wordsworth contemplates
an obstruction and an actof vagrancy :' —

POWER OF MUSIC.

An Orpheus ! an Orpheus ! Yes, Faith may grow bold,
And take to herself all tiie wonders of old :
Near the stately Pantheon you'll meet with the same,
In the street that from Oxford hath borrowed its name.

His station is there — and he works on the crowd ;
He sways them with harmony merry and loud —
He fills with his power all their hearts to the brim —
Was aughr^ver heard like his fiddle and him ?

What an eager assembly ! — ^what an empire is this !
Tlie weary have life, and the hungry have bliss :
The mourner is cheered, and the anxious have rest ;
And the guilt-burthened soul is no longer opprest.

As the moon brightens round her the clouds of the night.
So he, where he stands, is the centre of light ;
It gleams on the face there of dusty-brown Jack,
And the pale-visaged baker's, with basket on back.

That errand-bound 'prentice was passing in haste—
What matter ! — he's caught, and his time runs to waste :
The newsman is stopped, though he stops on the fret.
And the half-breathless lamplighter — ^he's in the net

The porter sits down on the weight which he bore ;
The lass with her barrow wheels hither her store —
If a tliief could be here, he might pilfer at ease —
She sees the musician — ^'tis all that she sees i

He stands, backed by the wall — ^he abates not his dm —
His hat gives him vigour, with boons dropping in
From the old and the young — from the poorest— «nd there !
Tiie one-pennied boy baa a penny lo spare.

D 2

THE MUSICAL LIBRARY;

O, blest are the bearers, and proud be tbe hand

Of the pleasure it spreads through so thankful a band ;

I am glad for him, blind as he is ! all the while —

If they speak, 'tis to praise, and they praise with a smile.

That tall man, a giant in bulk and in height.

Not an inch of his body is free from delight :

Can he keep himself still if he would ? Oh, not he I

The music stirs in him like wind through a tree.

Mark that cripple, who leans on his crutch, like a tower

That long has lean'd forward, leans hour after hour ! —

That mother, whose spirit in fetters is bound,

AVhile she dandles the babe in her arms to the sound.

Now, coaches and chariots ! roar in a stream —
Here are twenty souls happy, as souls in a dream :
They are deaf to your murmurs — they care not for you.
Nor what ye are flying, nor what ye pursue.

In Prussia, the best unrepresentative government in Europe,
education is regulated by law, and music forms a necessary part
of it. Drinking to excess, which from the time of Tacitus and
probably earlier, down to the commencement of the present cen-
tury, was the cardinal vice of all Germany, has yielded to the
charms of song throughout the whole of the Prussian dominions.
In no country of which we have any knowledge, are the people
more honest, industrious, happy and enlightened.

But in England the enjoyment of so social, so innocent an art,
is denied to the great mass of the population ; for it is downright
mockery to say to them, such a theatre, such a concert-room is open
to all. Theatres and concert-roofns are certainly accessible to every
one who can afford to pay the price of admission ; so is the Lon-
don Tavern, as Home Tooke said : but has the artisan the means
of paying to hear music in any concert-room, in any theatre?

We cannot do better than follow up this subject by an article,
obligingly sent for our perusal by a correspondent, published last
September, in the Evangelical Magazine. The author, we are
told, is a doctor in divinity, and an authority to be relied on. The
information he gives is not less instructive than interesting.

SACRED SONO,— MUSICAL REVOLUTION IN SWITZERLAND.

The susceptibility of strong mental impressions from Music is one
of the natural faculties with which our Creator has endowed us. Is
there not reason to fear that its importance is not sufficiently appre-
ciated, and its powers not sufficiently called forth ? The early history
of all nations presents instances of its wondrous efficacy. Witness the
first periods of Greece, Britain, and Scandinavia, and the national songs
of Tyrtffius, whom Plato apostrophises as the divine poet^ wise and good.
Aristotle, though often disposed to contest his master's doctrines, con*
curs with him here, in attributing to music a great moral power. By
divine institution* sacred song, of which we have the inspired remains
in the Book of Psalms and other parts of the Old Testament, formed
almost the only social worship of the Hebrew temple.

At the Reformation this grand instrument of emotion was not en-
tirely overlooked. Unhappily, in England and Scothind, either it was
sot put into action, or the attempt was ill-conducted and abortive. In
France, for a time it produced great effects : of which some interesting
notices are given in the delightful compilations of a pious and talented
lady, lately given to our country, *The Life of Olympia Fulvia Morata.'
But the counteraction and destruction of the Reformation in France
brought down what remained to them of national song to the wretched
state of chanson and chansonetles, the best of which were mere conceits,
often tame and silly, and the generality of an immoral character ; and,
by a just judgment, the music became worthy of the song, it was scream-
ing by notes.

In Germany, the matter took a better course. The German tribes
had been always addicted to music of great pathos and compass ; and
their language, unpolished as it was, by its copiousness, flexibility, and
strength, gave them a great advantage over the French. Luther had
ear, science, and execution. While by his version of the Bible, every
line of which bears witness to his euphonic taste and judgment, he
stamped the language with classical dignity, his hymns and his music,
powerfully seconded by other and superior poets, poured the stream of
sacred melody through the land. No country can pretend to vie with
Germany in the richness of its religious music. Its stock of Hymns,
beginning wilh the age of the Hussites, but of which few are even now
obsolete, is moderately stated at seventy thousand : a late writer in the
Archives du Christianisme (June 28, p. 95,) estimates them at more
than eighty thousand. Great Britain can scarcely pretend to the twen-
tieth part of this number ! This astonishing amount of the German
Hymnology is characterized by a decided strain (very few indeed are
the exceptions) of evangelical sentiment and experimental piety, their
versification is most mellifluous, and their tone full of tenderness and
power. It is a popular treasure of doctrine and practice : and it has

been a grand means of keeping the flame of religion glowing on the
cottage-hearths of the peasantry, in many happy instances, when a
spurious gospel had taken possession of the churches. t

The band of devoted men in France and Switzerland, who are
* labouring so much in the Lord,' have not forgotten this department.
In both those countries, vigorous efforts have been lately made for the
restoring, or to speak more properly the creating, of a French national
psalmody. Among these, a distinguished praise is due to Dr. Malan.
Many new psalms and hymns have been produced, possessing excel-
lence of both poetry and piety : and suitable melodies have been com-
posed. Besides Dr. Malan's volume, the Paris Croix de Caniiques ha»
arrived at a third edition ; and a large volume, beautifully printed, with
the musical notes, has been this year published in that city, with the
title Cha7its Chretiens. Some articles, peculiarly valuable as to both
science and Christian spirit, have appeared on this subject in the
Archives and the Semeur.

That these are among the means by which * the Lord whom we
seek is preparing his way, and coming to his temple,' is a persuasion
which seems to be powerfully confirmed by a most remarkable pheno-
menon, which is now operating on a grand scale in the Canton of Vaud,
and of which we have a large narrative in the Semeur of July 16. We
shall endeavour to extract the essence, by selecting and abridging.

In the south-west of Switzerland a Musical Revolution is rapidly
taking effect. Its watch-word is Harmony ; its object is to give a new
direction to popular singing ; and its means may be found wherever
there are persons willing to take a little pains, and who can find a leader
to give them a little instruction, and to guide their voices in singing the
charms of their country and the praises of their God. Long was it
thought that French Switzerland could not march with the German
cantons in vocal music Long has the lake of Geneva heard little along
its shores but coarse, vulgar, and obscene ballads. Lately, the students
of Geneva and Lausanne have laboured to counteract this evil, by com-
posing patriotic songs, and endeavouring to give them popular circula-
tion. The effort has been happily successful, but within a small circle.
The Religious Awakening which is making daily progress in Switzer-
land, has had great effect in improving the national singing. New
methods have been adopted in many schools to train the children to the
execution of hymns with a fine and simple harmony ; and the effects
have been so far pleasing. But something was wanted to reach the
mass of the people; and that, the kindness of Providence has supplied.

About two years ago, M. Kaupert, a Saxon gentleman, who has long
resided at Morges, proposed to teach gratuitously the whole population
of young and willing persons in any village or small town, to sing
together. The rumour attracted considerable attention, and drew forth
a variety of opinions. But soon his promises were realized, and all
scepticism was silei^ced. At Morges and in tlie neighbouring villages,
concerts of the voice alone were heard, producing such a noble and
simple harmony as no person in the whole country had before tiie least
idea of. He was induced to extend his benevolent labours. He elec-
trified, as it were, the whole side of the Lake down to Geneva. Every-
where, the Magician of Song was followed by crowds. The maraL
effect of this is beyond calculation : already the result, in this respect,
excites astonishment.

M. Kaupert commonly began in schools and other large rooms.
Persons of all ages and of every rank in society flocked to these meet-
ings. It was soon necessary to ask for the use of the churches : and
sometimes, large assemblies have been held in the open air. In the
former places, hymns are sung ; and in the latter songs, patriotic or
descriptive, but all free from any immoral taint.

His plan is to trace, in a simple and clear manner, upon a large
black board, the notes of each lesson ; and he furnishes each one of hia
pupils with a card or paper, containing what he judges fit for each step
of instruction. He usually succeeds in ten lectures to qualify these vast
masses to execute the simple and touching hymn or song, m parts and
full concert, enrapturing all who witness the scene.

In the inUroductory lectures, he strongly affects the imagination and
the sensibility of his hearers, by his descriptions of the powers and the
intention of music, to breathe noble and generous sentiments, to har-
monize the minds and hearts of men, to honour our country, to excite
admiration of the works of God, and, as the highest point of all, to show
forth his praises. These large assemblages follow his instructions, and
catch his manner of execution with an enthusiasm perfectly astonishing.
His kind manner and untiring patience have a great share in producing
the effects which so surprise us.

The great and learned city of Geneva invited the musical philanthro-
pist to visit and charm its population. Some of the higher classes be-
came alarmed ; but, in the result, they too were carried down the stream.
Pastors, professors, magistrates, ladies of the first rank, persons the
most distinguished for learning and science, were seen side by side witb
children and poor people, listening and learning from M. Kaupert.
When the grand meeting took place, no church could receive the mul-
titude, and they repaired to the Plein Palais, in number four thousand
singers. Here, however, the success did not answer expectation : the
wind acted unfavourably upon the vibrations of the air, and perhaps the
distance of the extremes made it impossible to keep time* But M. K*.

THE MUSICAL LIBRARY.

was loaded with expressions of admiration and tlianka, and a medal was
struck in honour of him; a mark of respect which, in Switzerland, is
never conferred but upon what is judged to be in the highest order of
merit

At Lausanne, his instructions were sought with universal avidity.
Many, who had been accustomed to spend their eyenings in dissipation,
began to employ them entirely in learning the new style of music.
Children and their parents, all the schools, the professors and students
of the college, servants and mistresses, workmen and masters, persons
who had been the most opposed to each other in religion and politics,
the inhabitants of different villages distinguished by banners,— -all were
attracted, all seemed to be of one heart and soul. When the previous
training was complete, a day was fixed for the grand concert. More
than two thousand singers were arranged in the great church, the noblest
Gothic building in Switzerland: the flags of villages and societies were
tastefully arranged on an ivy-clad tower : the vast multitude who came
to hear were disposed within and without : and then was sung a hymn
and its air of Luther's composing, — simple, grave, noble. But, O the
effect !— No words can utter it ! — ^The impression will never be forgotten.
Other hymns were sung ; and a most touching patriotic song, the words
of which we owe to M. Olivier, named La PcUrie, • Our country, Hel-
vetia! Helvetia!'

The happy fruits of this Muncal Revolution show themselves almost
everywhere. The people in the different places keep up their singing-
meetinffs. In the summer evenings they are seen in the churchyard,
or on the village-green In the streets and on the roads, the ear of the
passenger is met by the sweet sounds. In these groups we perceive
some failures of execution, compared with the fine style when led by
M. Kaupert : but attention and practice will remedy them.

Christians of Great Britain, what say ye to this narrative ? Cannot
you go and do likewise ? Cannot you thus draw thousands from the
beer-shop and the gin-shop, and the corrupting intercourse of idle-
ness? — Ye men of Manchester and Birmingham, of Sheffield and
Leeds, and of every other place ; — open your chapels for this grand
experiment. Surely you have good and able men among you, who
possess the talent and benevolence to effectuate this object. Why
should you not begin with some stanzas of our fine national me-
lody, God save the King? And are there not other old English
songs, not religious, but innocent in sentiment and striking in words
and music? And may not these, under your judicious guidance,
prepare the way for singing the songs of Zion, thus diffusing the gospel,
affecting the heart, attracting the wanderer, and improving our congre-
gational psalmody ? — I trust that thi:5 appeal will not be in vain. This
instrument of good has never, in our country, been sufficiently tried. A
very able writer in the Penny Magazine has lately been endeavouring
to arouse our most unmusical nation, and to create some sort of British
National Music. But with all his knowledge and discernment, he rests
his hopes on instrumental music, thinking that the vocal cannot be cuU
tivated and sustained without that aid. He has no idea of M. Kaupert's
grand and simple method.

J. P. S.
Homerton,
Aug. 9, 1834.

MOZART'S SONS.

To the Editor of the Supplement to the Musical Library.

Sm, — I beg leave to address a few lines to you, in consetjuence of a
mistake, which, in perusing a notice of tlie great Mozart, in the first
number of. the Supplement to your judicious work, I have only lately
discovered. It is there stated that he has left ' an only son.' Such is
the general belief: but the fact is that he left two sons ; one, Charles,
a distinguished amateur, employed under the Austrian government, at
Milan, whom I saw daily during my residence in that city ; the other
(the eldest, according to his brother's statement to me), is maitre de
chapelle to one of the German princes, whose name I cannot at this
moment recollect. He it is who has published various compositions,
one of which, I think I have seen in a number of the Harmonicon.
My friend, Charles Mozart, does not disdain to exercise his talents as
accompagnaiore di canto, in which capacity he went through his father's
works with me.

, I am sir, &c.

Eliz. Masson.
56, Great Portland Street,
Feb. 18, 1835.

%* We offer our best dianks to Miss Masson for this correcUon.

HAYDN'S AND MOZART'S M.\SSES.

To the Editor of the Musical Library.

Sir, — Before I proceed to the object of this letter, I have to solicit
your attention to one or two facts, which, closely connected as they are
with the present state of music in this country, I can only express my
surprise have never yet met the public ear.

In my former short communication on the subject of Haydn, I
alluded to the prevailing ignorance of his church music, and to its
causes, which, if traced to their origin, and followed through their ulti-
mate results, will be found to have produced consequences of far greater
extent and importance than a superficial view of them might induce us
to believe ; for to what is the universal distaste to these works to be at-
tributed, but to the remains of that overwrought and phrenzied hostility
to everything connected, even by the most remote and harmless associ-
ations, with the ancient faith, which, ere the Reformation was completed,
had already effected the suppression of the choirs throughout the king*
dom, those of the cathedrals alone excepted ? That the consequences
should have hitherto eluded public attention, is the more extraordinary,
as a very few words will serve to make them apparent ; and it is further
remarkable, that in tracing this change to its origin, it will be difficult to
find in the histories of the period, either act, edict, or proclamation,
formally sanctioning it*. On the contrary, there is evidence that not
only authority, but national feeling also was in favour of preserving the
ancient forms ; and in fact the subject is involved in mystery, unless we
arc to conclude that this innovation had been gradually effected by the
local influence of the inferior clergy, aided by the incipient puritanism
of the time ; which indeed is very probable.

Be this however as it may, that the extinction of the choirs at the time
of the Reformation is pretty closely connected wiih the imputed national
degeneracy on the subject of music, is certain ; and the state of musical
feeling among the Catholics will alone afford sufficient testimony of this.
In the aggregate population of the metropolis, for instance, scarcely one
family in a hundred is to be numbered among the adherents of the
ancient faith, yet it is asserted that nearly one half of the well-educated
musical families of London are Catholic. In the term well-educated,
however, must not be included those, to whatever class they belong,
among whom music is only cultivated for the gratification of vanity, and
the purposes of display, as a stake in the great matrimonial game, (the
primum mobile of so large a portion of the circles,) a thing to catch lords
with, and which having answered its purposes is forthwith thrown aside
as useless, a fate that it is to be feared only too frequently awaits it
among fashionable people. In Catholic families, however, as well
indeed as in those of the cathedral clergy and congregations, it will ge-
nerally be found that music is loved and cultivated for its own sake, and
that in this small section of the community a mVch better taste prevails.
Nor is this to be wondered at among those who have, from their earliest
infancy, been accustomed to the exquisitely beautiful hymns, chants, and
choral music of the catholic and catliedral services.

But without insisting upon the correctness of the above proportions of
one in a huiidred and one in two, the immense number of Catholics
among musical people must force itself upon the conviction of the most
casual observer. Here therefore we have a pretty satisfactory key to one
at least of the causes of the degeneracy imputed to us. Again, the
cathedrals, where alone we have thought it necessary to adhere to the
ancient forms in this respect, afford evidence in more ways than one to
the same effect. Let us suppose for a moment that the cathedrals, as
well as the parish-churches, had been given up to the dominion of the
charity-boys, where would have been all our beautiful cathedral music ?
Reverse the proposition 1 had the choirs been retained throughout the
country, the effect may in like manner be estimated, especially when it
is further considered that the music-meetings, which for the last forty
years are acknowledged to have done so much in arousing public feeling,
have nearly all emanated from the cathedrals.

No more therefore, one would think, need be said on the effects of a
more extensive adoption of the cathedral service, nor is it easy to con-
ceive what could even plausibly be urged against such a step.

With regard to the present system, and the little functionaries, to
whom the care of the national character is committed in this respect, an
inquiry into the plan of education in charity-schools might possibly^
elicit some curious facts, for there is reason to believe that the rendering
these children fit for their task not only forms no part of the system, but
that any attempt to give them as much instruction as would enable them
to go through their duty with decency, would be discountenanced by the
clergy. I was once informed by a professor, that a gratuitous offer of
this kind from himself had been declined by the authorities of this chapel
at which he officiated : and with regard to the general character and
habits of these boys, it was said by the late Mr. Lamb, that you could
not address an inquiry to one of them in the streets, without the urchin's
at once making manifest his incipient raffishness. I was once thrown by
accident, for the space of a minute or two, into the midst of a charity-
school, where were some score or two of these lads, disputing and ex-

* I will nut speak poBitirely to this ; although Hume and, I believe, Buniet, are
both silent upon the subject.

THE MUSICAL UBRARY.

amining one another upon the nature and attributes of tlie Deity. * Wha*.
is Gaud?* (God) drawled one to another ; 'Gaud is a Spirit,' &c. If
this is not ludicrouf), it is disgusting, or, more properly speaking, perhaps
it is both.

In answer therefore to anything that may be urged touching the effect
of %\ie voicea of children in the churclies^ or any prett)u analogies about
cherubim &e., why this nrast obviously proceed at least upon the pre-
sumption that the children be well educated, that is, in a word, children
who have some feeling as well as capacity for their task, and not a pack
of ill-Uught» slatternly, rude brats, raked from their nestling holes.
to be Bel up under ti»e searching eye of foreigners, as repreaentttlves
and epitomes of the public taste, for no other purpose, it would seem,
than to bring disgrace upon the country.

That the public is generally ignorant of the facts I have thus briefly
alluded to, is certain ; that it is for the interests of music that they
should be made acquainted with them, is, I think, equally so. To what
then is to be attributed the extraordinary silence of the pvess upon the
subject ? dkl it not know the facta, or, knowing tbem, could it not reach
the inference 1 It is to be feared, however, that our independent period-
ical instructors would, lor the moat part, commit their cunning pens
to the flames, rather than give breath to opinitHis which might, for a
time, be somewhat unacceptable to the public ear.

The musk^ to which it is my present purpose to call your attention, is
the grand masses of Haydn and Mozart, comprishsg the bulk of their
church music, and which may with confidence be classed among their
greatest productions. The Requiem (a funeral mass) is indeed pretty
generally allowed to be Mozart's masterpiece, and it may be doubted
whether anything more is required than a better knowledge of his
church music, as well as of that of Haydn, to give much of it a similar
rank in professknial, if not in public estimation.

Haydn wrote sixteen masses, not more than nine of which, however,
were composed for full scores; viz., the first six, the ninth, the twelfth,
and the sixteenth. Except that some of the earlier ones contain evidence
that the composer's genius had not yet completely fireed itself from the
tramm^ of the old schools, these works have few general characteristics
which are not to be found in his later productions. There is the same
unity of purpoee, the same extraordinary construction of his harmonies
and aeconpanunents. Haydn's notes have the most wonderful instinct
at finding their proper places, of those of any composer that ever lived.
Erasures, alterations, or additions to them, would be like attempting to
improve the cupola of St Paul's by pulling away one of the pillars, or
thrustmg in an additional one; although there are worthies who do not
scruple to pby these tricks with Haydn, and fancy they succeed in their
object It has been said by one of Shakspeare's commentators, that * in
endeavooring to recc^leet any other author, in default of the right word,
one may chance to stumble upon one as godd ; but in Shakspeare, any
word but the right is sure to be wrong.' Here the reader has only to
substitute ' note' for ' word' to have at once as good an illustration of
one of the distinguishing characteristics of the great masters, (particu-
larly of Haydn,) and of those of an inferior claM, as could be conveyed
in as many words*.

Although but little is known of the exact period of the compositkm
of some of the latter of these works, it is, 1 believe, pretty generally
understood that most of tliem were written for the chi^l^l of uie King
of P^ssia, at a period long prior to Haydn's first arrival in this country,
and that the well-known ring was bestowed on him as a mark of the gra-
lifiealion they had given his majesty and the court Among the Catholic
congregations of London (for they were totally unknown to any other
section of the publk) the favourites are the first and fourth, an opinion
to whkh, however, I most be alk)wed to demur somewhat The first
for instance, with ail its undoubted and fervkl beauty, has a strong leaven
of the old schools, and is, upon the whole, better suited to what you term
the laudatores tempcrU aeii, than to the taste of the present age. The
best things in it vix., the opening adagio, the quintet in the * Credo,'
the * Benedictus,' and the last movement, are also the most modem.
The second and third are more original, and have more variety in every
respect. The finest portions of the second are the ' Gloria,' the * Credo'
from the adagio onwards, and the concluding allegro, to which last, with
its thrilling bursts of the trumpets, and splendid efdefro Bcuro^ it would
possibly be difiSicult to find a parallel in this or any other composer. The
third is that most commonly selected for performance at the high
festivals, as one of the most showy, brilliant snd noisy of them all. It
must be said, however, for Haydn's noise, that it can be listened to with-
out the instinctive motion of the hands to the ears, which is found so
frequently to accompany that of some of his successors. The first move-
ment of this mass may be named as a specimen of what Haydn could do
in the way of bravura writing, for surely it is a mistake to call it any-
thing else : the ' Gloria,' for brilliancy of effect, has, perhaps, never been
surpassed. The latter part of the work is scarcely equal to that of No. 2 ;
there is a movement in canone, which is, at least, as remarkable for its
dexterity as its beauty, or perhaps a little more sa The fourth is a
general favourite among professional people, but is not without its weak

• Xhis must of Goame, jut be understood to apply uxiiveiially, any mon thao the
commentatox whom I have quoted inteods any such inference with regard to Shak-
speare* . _

points. It has, however^ the finest * Benedictus' of than alL The
movement, beginning with the words ' Sanctus, Dominus Deus,' con-
tains one of those long creMcendoSy which, if they do not form one of
Haydn's peculiarities, may, at least be numbered among his greatest
beauties. The fifth is one for the laudatoret temporU acii^ and to
them I will accordingly leave it The opening adi^io of the sixth is
another of the triumphs of Haydn's genius, and the mass, which is
almost all choral, is one of extraordimMT beauty throughout The next
grand one is the ninth, the average beauty of which mav, possibly, be
somewhat lower than that of any of the preceding ; it is, however, from
beginning to end extremely pretty ; but the inspiratkm of the twelfth is
quite equal, if not superior, to any of the preceding, and is sustained at
the same level throughout Perhaps after all, however, his chefd*€euvre
is the sixteenth. It is more modern, and therefore m<»e exclusively his
own than the twelfih; the finest portions of it being, as usual, the adagios*
This peculiarity is not confined to Haydn's church music, but pervades
the whole of his works ; his symphonies, quartets, and sonatas, at least
have all the same characteristic.

Mozart's masses are more popular than those of Haydn, and the
public (always meaning the above-named small portion of them), I be*
lieve, have in this instance authority on their side. The first, the third,
the twelfth, and the Reauiem, are certainly equal, at least to any qi
Haydn's. But the truth is, that heskles the common generic resem-
blance which the music of all modem composers must bear to that of
Haydn, there are'some palpable traces of them in Mozart's sacred music,
amounting occasionally to direct plagiarism : thus the origin of the coor
eluding movement of the * Credo ' of the twelfth mass is to be found in
Haydn's seventh. Other instances might be named, from which the Re-
quiem itself is not altogether free, nor is this to be attributed to any want
of confidence in his own resources. Mozart's well known opinion of
Haydn's music was sufficient to lead him intuitively to his predecessor's
fine things, which he thus pleased himself by amplying and enriching
from the fertility of his own imagination. This, however, does not alter
the fact Mozart's finest mass is the twelfth, whkh is said to make a
pretty near approach to, (if it does not actually rival) the Requiem ; and
assuredly it woukl be difficult to find in the latter any thing superior to
the best' things in the mass, which are the Misenre, the quartet and
fugue in the ^ Gtoria,' the * Benedictus,' and the last movement The
opening of the fiirst mass, and the solo, quartet, and chorus, with which
it concludes, must also be reckoned among this writer's intensities.

One word respecting those to whom at present b^ongs the task of
giving breath to this heap of forbkiden enchantment, screened firom the
general ear by what Lord Bacon has pronounced the most powerful of
fdl talismans, — a icord.

The three principal vocalists at the Catholic chmrs are, Miss Somev*
ville, at Moorfields chapel. Miss C. Novello, at that of the Spanish em*
bassy, and Miss Betts in Warwick-street Of these, the pahn must
undoubtedly be awarded to Miss Somerville, to whom for purity of style
it would be difficult to find a matcU The other two ladies, although
both deservedly favourites of the public (Miss Clara Novello especially),
must yield to their rival in the first great requisite for this music — ^sim-
plicity, and depth of feeling. The gentlemen are but so-so. Mr. Wil-
son, the tenor at Moorfields, is perhaps the best . The choral part of
the duty (no unimportant portion of it by the way) being done gra-
tuitously, in consequence of the present dllapHJated state of the Catholic
exchequer, it would perhaps be unfair to be critical about

It is to be observed that this musk might be sung as easily with the
English as tlie Latin words, although the extraordinary consiBtency of
any objection to the original words, from those who chooae ta go and
listen to the Requiem (a thing saturated with popery), must be suffici-
ently obvious*

I remain. Sir, &c.,

S.E.

P.S. Your correspondent D. W. D., should make himself better ac-
quainted with the laws of fair discusskn, not to say of courtesy; for I
suspect it is scarcely consistent with either, to tell me that I have not
heud what I assert that I have heard, touching the character of Dussek's
music In referring your D. W. D., therefore, once more to my letter
on Beethoven's sonatas, he will observe, that I wrote under the full coo-
yietion of bemg held guilty of a * misdemeanor,' by the existing critical
dogmas, ai^ it is to be feared that he has afforded a convincing, althou^
perhaps, an involuntary proof of the correctness of my conclusions m
this respect

AMATEUR MUSICAL FESTIVAL.

To the Editor^ofthe Supplement to the Musical Library*'

Sir, — By direction of the Committee for conducting the late Amateur
Musical Festival, I tmnsmit you a copy of an account of the receipts
and expenses in respect of the festival, and of a statement of the number

of admissions, &c.

50, Greek Street, Soho,
February, I835«

I am, Sir, your obedient servant,

R. G. JoN£8, Sec.

THE MUSICAL LIBRARY

RECEIPTS. £ #. rf.,

83
2273 2

For Books of Words . . . 148 15 9

Sundry sums received from persons on being passed from Half-
a*6uinea to Reserved Seats, &c. • • • .880

Subscriptions • . . . •

For Tickets of Admission to Rehearsals and Performances

2513 5 9
Deduct monev returned for Tickets that could not be admitted
at the Third Rehearsal • • • « 30

Deficiency (paid by Committee)

EXPENSES.

2483 5 9
71 19 9

2555 5 6

Hire of Rooms fbr private Rehearsals, and of Exeter Hall for

Public Rehe^Lisals and Performances • . 339 10

Fitting up and preparing Rooms, &Co for ditto • • 106 12 10

Erecting and fitting up Orchestra . • • 329 12 5

Hire of Organ and other Instruments • . • 42 19

Hire and purchase of Music . . • • 161 13 2

Vocal and Instrumental Performers • . . 661 11

R^reshments . • . . • 264 13 2^

Doorkeepers, Attendants, Messengers, &c. . . 45 13

Li|fhting » . . . • . 113 12 4

Printing ••••••• 232 9 9

Advertisements • , • • • 82 9 6

Stati<mery, &c. • • . • . .613

Porterage^ &c. • • • • • 14 18 6

Postages . • • • • • .307

Bill-sticking and carrying • • • . 34 17

Coach and cab-hire . . • • • 7 13

Sundry Petty Disbursements . . . . 25 18 2^

Printing Statement of Accounts, &c., and Expenses of General

Meeting • • • • • • .620

2479 6 9

£. *. d.

Commission on Sale of Tickets

57 16 9

Ditto ditto Books .

• 18 2

2555 5 6
Note. — A Donation of £20, paid to the Treasurer by order of the Hon Gen.
BUgh, with directions to be equally divided between the Westminster and
Charing Cross Hospitals, is not included in the above account.

Freb Admissions. — ^Every Member of the Committee was allowed to send
in four Free Admission Orders to each Rehearsal, being for the whole Com-
mittee 144 per night, or 432 in all. The excess above that number was
principally occasioned hy several Members issuing* more than they were
authorized. Some of them have since given satisfactory explanations upon
the subject ; but for the larger proportion of the excess no satisfactory ex-
planation has been rendered ; and one instance the Committee have felt it
their duty to notice in terms of strong disapprobaticMi and o^isure.

Ps&FOSKANCBS.

The Free Tickets to the Half-Guinea Seats were distributed as follows :

Press.

Performers, &c.

Total.

First . . • .
Second •

Third ....
Fourth . « •

65
67
67
60

45
93

90
101
112
153

259

197

456

Those to the Reserved Seats, with the exception of about thirty, which
were given to persons possessed of Tickets for the Half-Guinea Seats, in
exchange for such Tickets, were for the most part given amongst the prin-
cipal Performers.

A meeting was held at the Crown and Anchor on the 25th of
February, when a report from the Committee was read* This
we did not attend, but are informed that the report was not in all
respects satisfactory. It appears that the Conmiittee, so far from
contributing a large sum, as was expected, to the funds of the
Westminster and Charing-Cross Hospitals, were called on to pay,
out of thdr own pockets, a loss, upon the balance, of nearly one
hundred pounds. It is said that tickets were- forged ; and the
accounts in some particulars were found to be by no means so
clear as could have been wished. The sum, too, charged for re-
freshments, is quite preposterous, considering that humble bread,
cheese, and porter, for the gentlemen who performed, and a sand-
wich and glass of wine to each lady-singer, constituted the whole
of this part of the entertainment. It is obvious that, while the
music was marvellously well performed by the party of amateurs.

there was a want of judgment, to say no more, in the manage-
ment of accounts, tickets, free admissions, &c. We understand
that performances of a similar kind will take place next autumn,
and that the general direction of them will be placed in more
competent hands. THus the two charities may be benefited.
But we trust that neither of the institutions in question will again
recommend their subscribers to purchase tickets, as they did on
the late occasion, unless one governor at least from each hospital
is invited to join the managing committee.

ANCIENT CONCERTS.

FIRST CONCERT, Wednesday, March 11, under the diiection of the

Duke of Cumberland.

Act I.
Coronation Anthem, * Zadok the priest* . , . . HAKDir*.

Son^,« Love in thiue eyes' ..... Handsl.

Madrii^al, ' Sweet honey-sucking beee' .... Wiunn.

St ng,' Holy, holy' . , . . . . Hanobu

Chorus, ' Your harps and cymbals.' (Solomon,) , , , Handkl.

Recit'Alas! I find' \ r^ \ «

Song, « If guiltlesii blood' j V.a««iJia.; • ... Hanmi..

Duet (#Vom tke Solo§.) • • . . . « Cobjulu.

Glee, < O bird of ere ' . • . .

BeciL ace. 'Berenice, ove sei? ) rr • v \
Aria,'OmbrachepaUidA' / C^^« ^«^0
Recit. ' 'Ti» weU ' \ r l. l \

March ; and Chorus, « Glory to God ' / ^•««*«*-->

Act II.
Concerto (a minor) ....
Recit. ' O let eternal honours ' 1 t r ^ hm^ \
Song, 'From mighty kings' / (•'«<*" ^^^O
Chorus, * See, the proud chief* (DeborcA,)
Madrigal, ' Down in a flowery Tale * •

Recit. * Rejoice, my couatiymen ' |.
Recit. ace. < Thus saith the Lord ' V (Beitkazzar.)
Chorus, ' Sing, O ye heaTens' J
Glee, ' Bird of the wilderness' • . » ' • • Grbatorbx.

Aria, * Vengo a vol' .••••• GoouKLMb

Chorus, '^Around let acclamations' {Aikulicu) • • • HAin>KX»

Thb Sarl or MoRNiMaTOir.

• JOMBLU.

, • Handsl.

% Martini*

• • Hattdbl.

Handel.
CosTAifTztrS Fbbta, 1541.

• Hanobi..

The present is the sixtieth season of these concerts. According
to Dr. Bumey, the intimate acquaintance of the fourth Earl of
Sandwich, they x>riginated with that nobleman in 1776^ and never
have, for even a single year, been discontinued.

In our first volume we endeavoured to show how much this in*
stitution has benefited the art, as well as its continued utility, in
saving from that neglect to which fashion would condemn them^
the works of the great masters, which, by being held up constantly
to view, and placed in the most favourable light, are not only the
source of infinite pleasure, but also the models after which ou!r
really solid and best musicians form themselves. Hence a purity
of taste is preserved among a sufficient number, to counteract tbie
effect produced by the loads of trash annually brought into this
country by foreign performers, singers especially, who, in almost
every instance, select the worst they can find, and have address
enough to persuade many that ^bat they select is the best.

At the close of the season 1833, it w^as feared that the Ancient
Concerts would die a natural death, but by the active and aUe
management of a noble dilettante, together with a small, pru-
dent sacrifice on the part of the performers, they were, happily for
music, saved; and the end of last July saw toe treasurer with a
balance in hand. The subscription for the present season exceeds
that of the last; it therefore may confidently be stated, that this
institution is in a more prosperous condition, exhibits more symp-
toms of vitality, than it has done for years past.

This first concert began with the Coronation Anthem, in coni-
pliment to the Queen, who, with the Landgravine of Hesse- Horn-
berg, and a large suite, was present. We rather regretted that
the lovely air &om Acis and Galatea had not been otherwise
aUotted. Mr. Hawkins sang it quite correctly, but his voice»
which, when not too loud, does vastly well in a glee, possesses no
recommendatory quality for a solo. Wilbye's madrigal was fol-
lowed, by murmurs of applause : approbation is here rarely ex-
pressed in louder sounds. In Handel's divine air, * Holy, holy !'
a new candidate for vocal fame was heard, — Miss Lacy, daughter
of Mrs. Bianchi Lacy, who during so long period was a much-
admired concert singer. This young lady greatly resembles her
mother in delicacy of style and correctness of intonation. Her
voice is as sweet, but will, we conjecture, be found much stronger,
when a slight degree of timidity is overcome^ and she has ac-
quired the art of throwing it through wide space. She sang the
air in a very chaste, pleasing manner, and made a most favourable

THE MUSICAL LIBRARY.

impression. Indeed the circumstances which bring her before the
public, predispose every one in her favour. Her parents had in-
vested nearly the whole of an independent fortune, acquired by
their talents, in one of the houses at Calcutta which recently failed,
and, for the present at least, are, with many others, placed in a
situation that requires them to take every precautionary measure
against the worst that may happen. The double chorus, from
Solomon, and ' Glory to God,' from JoshuOy were splendid exhi-
bitions of choral effect. ' If guiltless blood,' is one of Mrs. Kny-
vett's triumphs. Her manner of delivering the slow movement,
' and if to fate,' is as fine a specimen of devotional singing as we
ever heard. The duet for violoncello and double-base, by Lindley
and Dragonetti, extorted an encore, even in this temple of polite
tranquillity : it was richly deseiTed. Lord Mornington's beau-
tiful glee, simple in construction, but ten times more effective than
if it had been elaborately written, was charmingly performed*.
The scena of Jomelli, his chef-d'iBuvre, past all dispute, and
almost unmatched, considered as dramatic music, is not suited to
Madame Caradori. It requires great power of voice, profound
depth of expression, dignity, and tenderness, and we need hardly
say that the three first are not qualities possessed by this lady,
though mistress of others of a very delightful kind. The piece,
too, had not, it seems, been rehearsed, and the accompaniments
were more than once direfuUy at fault. However, her ' Vengo a
voi,' in the second act, made amends for the deficiencies in the
former.

Martini's spirited concerto f, which is quite confined to these
concerts, gave us an opportunity of hearing F. Cramer's full rich
tones, and legitimate violin playing, in the lovely andante in A.
Mrs. Bishop's ' From mighty kmgs' was very good in every way.
The choruses, ' See the proud chief and * Sing, O heavens', were
quite perfect. What real, what high enjoyment, to hear the
ibrmer, and so executed ! The madrigal of Festa, so quaint yet
so melodious, was most effectively performed. The glee, harmo-
nized by Greatorex, wanted only rather more gentleness in the
contra- tenor to make it all that we wished. The last chorus is"
like that with which the concert opened, a loyal effusion, but not
•equal in point of merit.

SECOND CONCERT, Wednesday, March 25, under the direction of the
" binho]

Archbinhop of York.

Act. I.
Scene from the Creation ... •

Recit. ' Great Queen, be calm * \ r JtJ, r \
Song, Mr. Braham,* Gentle airs' f v.^"*^'«-J
Chorus, ' Hallelujah ! Amen.' {11 Trionfo del Ttmpo.) . . Handbi..

Movement from Handel's Lessons . • • Handbl & Giibatohrx.

Glee^ ' Cold is Cadwallo's tongue ' • # • • • Housley.

Srg;M.di'c:rori;.Ah!parl.te' } iU S«..Jtcio ^ Jlr^o.) C.-.,«,s..

Chorus, < The Lord shall reign ' {Israel in EgypU) . • . Hamdbi..

ActIL
'Symphony (b flat) •••.•• Mozart.

Song, Miss Postans, ' Se pietik nel cor' • • • • Cimahosa.

Hatdn.
Handbl.

Haydx.
Uandbi^

Recit. « Lo, now aslant' > . «•«,««. \
Trio, * Behold on high' / C^a«ow.;
Kecit. * O worse than death * ) /ti^^ i^« ^

. Knyvc'tt, « Angels, ever bright7 ^Tf^'^ra.)

Song, Mrs.

Itfadrigal, < Strider faceva'

Recit. * My prayers are heard*

Song, Mr.H. Phillips, < Tears, such as tender'

l^hortta. < Giurift in exrelKiM *

Luoa MAnsNBio, 1521.

j- (Deborah.) . Handbf^

Chorus, * Gloria in excelsi:! '7 . • • • Pbroolbsi.

Song, Mad. Caradori, * Confusa I abbandonata!' . . • • Bach.

Chorus, ' Father, we adore thee ' (Judah,) . • • Haydn.

This bill displays a greater variety of names than usual^ and
the concert was not the worse for it. The ' scene/ as it is called,
from The Creation^ was a good selection from the beginning of
the first act, in which Mr. Knyvett, Mrs. Bishop^ and Mr. Phil-
lips took the principal parts. Mr. Braham's song, 'Gentle airs,'
was exceedingly graceful, and Lindley's violoncello in good keep-
ing with the voice. The cadences of the latter were rather
shorter than he commonly makes them, and thus, he may be
assured, their effect was much augmented. The chorus from //
Trionfo del TiewpaJ, was a novelty, having never before been per-
formed here. It is a clever fugue on two subjects, worked up in
HandeFs able manner ; and though not devoid of mannerism, is
brilliant and powerful. The delicious and well-known movement
from Handels lessons, exceedingly well instrumented by Mr.
Greatorex, afforded, as it invariably does, universal pleasure. The

' * This will shortly he printed in the Musicai. Librabt.

t The greater part of this, adapted for the piano-forte, is published in No. 50 of
he Musical Lxbbabt.

X It is in fact from 7%e TViumph of Time and Truth, the English version of //
fVion/o del Tempo, e deila Feritau

fine glee by Horsley was very well executed. The repetition of
its last movement in chorus is a decided improvement. Cima*
rosa'^s ' Deh ! parlate* is not suited to Mad. Caradori's voice, or
her style of singing : nor is J. C. Bach's aria, * Confusa ! abban-
donata !' The latter she took much too slow. ' The Lord
shall reign' was splendidly performed. Mrs. Knyvett, in * Sing
ye to the Lord,' put forth a power that hitherto very few have
thought she possessed. Mozart's Symphony went off well, but
does not please at the Ancient Concerts in the same degree as at
the Philharmonic. The performers feel this, and their enthu-
siasm is checked. Luca M arenzio's Madrigal, which was new
to us, is beautiful. In point of invention, we are inclined to say
that it is his best. I'he opening, a vocal imitation of the Zam-
pogna, is as pleasing as it is playful. Miss Postans, with a rich
mezzo-soprano voice, and in an unpretending manner, sang a
scena which tells better on the stage than in a concert-room. In
neither can it be admitted to be one of Cimarosa's best works.
The trio from Haydn's Seasons was also a novelty here, though
it wanted rather more rehearsing. Mrs. Knyvett's * Angels ever
bright and fair,' was excellent ; but Mr. Phillips did not throw
that feeling into the deeply-affecting song from Deborah, which
he almost constantly imparts to whatever he undertakes. TJie
' Gloria' of Pergolesi never fails to please here, and indeed every-
where else, provided the audience have any taste for melody.
The chorus of Haydn, from a mass, is indeed a splendid com-
position, and was admirably performed: we- regretted that it
should be made to serve as a kind of voluntary to play the com-
pany out of the room. •

PHILHARMONIC CONCERTS.

SECOND CONCERT, MONDAY, MAECH 9. '

Act. I. '

Sinfonia, No. 7 , . , . . . Bbbthovcn.

Aria, (MS.) Miss Masson, <Nonv*e piu barbaro' • . Stuntz.
Quartetto, in a, Two Violins, Viola, Violoncello, Messrs. Mori,

Tolbecque, Moralt and Liudley . . • • Bebthovbn.

Aria, Madame Caradori Allan, * Casta Diva,' (Norma) • . Brllini.
Overture, Oberon . . . . .CM. Von Wkbsr.

Act. II,

Sinfonia, 5th Grand ...... Hai-dn.

Air, Mr. E. Seguin, * Now heaven in fullest glory shone', (Creation) . Haiun.

Introduction, and Air vari^. Bassoon, Mr. Baumanu . • Bauhamk.
Terzetto, Madame Cara<lori AlUu, Miss Masson, and Mr. £. Seguin,

* CoTTHfr^io or Bu\( Fidrlio) .... Bbbthotsn.

Overture, U/yites and Ctrce . • . . . B. Rombbbg.
Leader, Mk. Mori. — Conductor, Mh. Pottbr.

The symphony of Beethoven in a, long as it is, never exhausts
the patience of this audience. Indeed, if only for the sake of the
slow movement in a minor*— one of the composer^s happiest inspi-
rations — we would willingly listen to music of less merit than the
other parts can boast. The Scherzo and Trio also are perfectly
original, and at length, but not till after long acquaintance, dis-
close their beauties. Haydn's symphony in c minor^ his fifth
grand, one of those composed for Salomon, is more like * caviare*
to ordinary tastes than most of the others, therefore not so often
performed, but is a masterly composition, and only inferior to one
or two, at the utmost, of the twelve. For elegance, and for a
quality that pleases all, the middle movement in e flat has no
superior.

Beethoven's quartet, the fifth, was never better performed, or
more warmly applauded. The andante f called forth a loud
encore. We hailed with no small degree of pleasure a piece of
this kind. Last season, to the regret of most if not all the sub-
scribers, not a single quartet or quintet was given, though nothing
forms a better contrast to the symphonies and overtures, or sets
them off to greater advantage. M. Baumann is an excellent
performer, and though his tone has not the richness of our late
Holmes, or his successor Mackintosh, yet it is superior to that of
all the continental bassoonists we ever met with. The introduction
was far better than the air and variations, which resemble, and
rival in common-place and weakness, some of the worst of Pleyel's
most trivial compositions.

The overture to Oberon was admirably performed ; and that of
Romberg had every possible justice done it. The latter was in
the only place fit for it : as a finale it does tolerably well.

Of the vocal portion of this concert we have, as is too often the
case, to complain. The aria by Stuptz is the work of a master

Which will be printed in No. 5S of the Musical Libaabt.
f See MusioAi Librauy, No. 11.

THE.MDSICAL LIBRARY-

undoubtedly, and a novelty, — two great recommendations ; but
there is nothing at all captivating in it, and the divisions are not
suited to Miss Masson's voice; otherwise she did it that
justice, which everything adapted to her style and vocal powers,
receives at her hands. The aria of Bellini should not have been
permitted here. The Directors are alone to blame in this instance,
for they well know that foreign singers, if left to their own choice,
almost invariably select what is perfectly contemptible in the opi-
nion of real judges. The air from the Creation, though well sung
by Mr. E. Seguin, has been hawked about by him in town and in
country, till the ear is weary of it, though so fine a composition.
Mr. S., or rather Messieurs the directors, should recollect that
sun-shine itself may at length force us to pray for a cloud. Of the
terzetto, which was very well executed, we will say but little. We
are in the minority on this subject, and fear that we do not like it
with the ardour which becomes an admirer of Beethoven.

Bbbthovbn.
Bbbtuovxn.
moschxuis.

CIXA.R08A.
. Von Wbbbb.

Mozart.
Spohr.

CORXLLI*

Mozart*
Sposr,

THIRD CONCERT, MONDAY, MARCH 23.

; Act I.

Sinfonia in c minor ••••••

Recit. ed Aria, Mr. Sapio, ^ Ah perfida' • • •

Concerto in a minor, Piano-forte, Mr. Moscheles • •

Recit. ed Aria, Miss Postans, < Se pieta nel col serbate.' (G/< OrazJ
€ Giri<izj.) ....••

Overture, Dcr Beherncher der Geitter • • .CM.

Act II.
Sinfonia in b flat ••••••

Aria, Miss Clara NoTello, * Tu m'abandonni ' •

Sonata, Violoncello e Contra Basso, Messrs. Lindley and Dra^onetti

Recit. e Quartetto, Miss Clara Novello, Miss Postans, Mr. Sapio, and

Mr. Giubilei, * Placido e il mar.' (^Idomeneo.)
Overture, Jettonda •..•••

Leader, Mr. Wbiobsbl.— Conductor, Mr. T. Cooxb.

That wonderful production of musical art, Beethoven's symphony
in c minor, in which he seems to have collected all his powers
into one focus, was performed in a most accurate and hrilliant,
— we are much inclined to say astonishing — manner. Mr.
Weichsel ' covered himself with glory,' as our Gallic neighbours
were once wont to say, in the leading of this : his times were cor-
rect to a nicety, and the spirit he so evidently felt communicated
itself to the whole band. Apropos to our neighbours : — M.
Fetis, who comforts himself now and then in roundly abusing
whatever is English, swelled the note of national triumph a few
years ago, on the performance of this very symphony in Paris ; for-
getting, or willingly concealing, that it had been got up about a
dozen years before by the Phimarmonic Society, and that its fame
at last reached the French capital via London ! The symphony
of Mozart, not a less perfect work than Beethoven's, was executed
in as finished a manner. The minuet and trio were unanimously
called for a second time. For the pianissimo, or a kind of echo
between the clarinet and flute, introduced in the minuet, we are
indebted to Messrs. Willman and Nicholson. It is not so marked
in the score, but the improvement is most striking and incontest-
able. The overture to The Ruler of the Spirits is a work of great
genius and beauty. Hardly less so is that to Jessonda ; but they
are too much in the same style to be performed on the same even-
ing. And we must here observe, that variety of key, an import-
ant consideration in a concert bill, was not well studied on the
present occasion; and is too often neglected at these concerts.
The whole of this first act was of one colour ; all in a minor key ;
for though Beethoven's aria ends in e flat, the greater portion of
it is in the relative minor.

Mr. Moscheles' concerto is a scientific, clever composition, and
he performed it in his usual admirable manner ; but the general
feeling was, that it would be much improved by being shortened.
Moreover, the instrument on which he played was by no means
favourable to effect ; it wanted body to tnose who were near, and
at a distance the tldnness, the wireness of its tone, was most sen-
sibly felt.

Mr. Sapio, in Beethoven's very fine scena, took more pains
than common to deserve applause, and was entirely successful.
We have rarely heard the passionate air, ' Per Pieta*,' sung with
80 much feeling and judgment ; and the declamatory parts were
animated without being too vehement* The aria of Cimarosa is
not at all worthy of his pen : it possesses no good feature, and is
languid from beginning to end. The rich voice and unaffected
manner of Miss rostans might have been far better displayed,
without any great expense of thought to the Directors. We can-
not speak much more favourably of the aria of Spohr, which is
very long, and deficient both in originality and spirit. It is to

* PriBted in the Muucai. LbsarYi No. 39. .

be rem'etted that such talent as Miss Clara Novello possesses
should have been so inadequately employed. However, the ex-
quisitely melodious and gentle quartet from Idomeneo, which was
well executed, afforded some compensation for the vapidity of the
two airs. Messrs. Lindley and Dragonetti played the sonata of
Corelli, — the 9th in a — which they had performed at the previous
Ancient Concert, and in no less perfect a manner*. This is
written for the violin and violoncello ; or for the former with a
keyed instrument accompaniment. Given as now, each part is, of
course, taken an octave lower ; but with the delicacy of tone and
refinement of Lindley, and the marvellous execution of Dra-
gonetti, nothing is lost, in musical effect, by the alteration ; while
much is gained in novelty, and in the pleasure arising from
surprise.

VOCAL SOCIETY.

FOURTH CONCERT, MONDAY, MARCH 2.

This presented a program rich in both ancient and modem
music. It has become a rule here to commence with an English
anthem, a practice on every account so laudable, that we trust it
will not be disconthiued. That chosen on the present occasion
was Dr. Croft's * God is gone with a merry noise.* (Would it
have been improper to substitute joyful — following the Latin
version — for so unfit a word as merry?). Callcott's fine glee
*Are the white hours for ever fled?' was well sung; Webbe's
master-piece, 'When winds breathe soft,* was most charmingly
executed ; and Stevens's ' From Oberon' enabled Madame Stock-
hausen to show with what spirit and judgment she can enter into
a composition so purely English. Miss Lacy, of whom we have
spoken above, gave ' Dove Sono*, from Mozart's Figaro, in a very
pleasing manner. It was not to be expected that she would be*
so equsJ to the strong emotions which the words express, as she
will be after some experience, but her pronunciation — acquired
in Italy — is excellent, and altogether her performance was of a
very promising kind.

The fine madrigals, ' Sigh not, fond shepherd,' by Ferretti, the
date 1575, the English words by T. Oliphant, Esq., Giovanni
Croce's ' Cynthia,' composed at a still earlier period, and Wilbye's
' Flora gave me fairest flowers,' were all admirably performed,
and encored. Handel, in his Funeral Anthem, has profited con-
siderably by the first of these. The quartet from Haydn's ora-
torio. The Words of the Redeemer from the Cross, {Die worte deg
Erlosers am Kreuze), though not the best of the seven pieces of
which the work is composed, is good, devotional, and seemed to
He pretty well understood by the performers. The Gregorian
chant, which introduces it, is solemn and was prodigiously
effective. Sir John Stevenson's glee, ' Give me the harp,' is not
one of his happiest productions : the alto here was very shrilL
A MS. air, by Jackson of Exeter, sung by Mad. Stockhausen,
ought to have remained where the author left it at his death.
This sweet composer published as much during his Ufe, as he
thought would contribute to his immediate profit or posthumous
fame, and what was left in his portfolio should be produced, if
produced at all, w4th the utmost caution, and only by the advice
of some very competent judge.

The clever septet from Storace's Pirates, * Hear, O hear a
simple story,' ricnly deserved the encore it received. Purcell's
cantata, ' Mad Tom,' was sung by Mr. Braham with that energy
and dramatic effect which no one else can impart to it. But it
ought always to be stated that Purcell's share in this ends with
the words * bring me my senses again ;' the remainder was added
by George Haydenf . Miss Masson and Mr. Hobbs sang in a
very charming manner the lovely duet from Spohr's Jessonda,
^ Schones Madchen,' to which English words are set, written by
Mr. E. Taylor, beginning ' Fairest maiden, O forgive me.' The
performance terminated with an agreeable serenade by Bishop,
introducing Saville's lively and beautiful waits, .

FIFTH CONCERT, MONDAY, MARCH 16.

The present performance began with an anthem, ' I will arise,*
composed by the Rev. Robert Creyghton, a doctor in divinity, and
son of that bishop of Bath and Wells who accompanied Charles II.
in his exile. We are acquainted with no work of the kind that in

* We shall inteit an airangement of this sonata, in a futun Number of the Musi**
GAL Library.
. t See Vol. 1, |iage 28, of this supplenunt

THE MUSICAL UBRARY:

beuity exoeb this almost uhVnown piece of sacred hannoiiy *.
Stevetm's very pleasing glee, ' Blow, blow, thou winter wind/ and
Ford*8 ' When first I saw your face,' were sung with great deli-
oacy. These were introduced by the desire of the Duchess of
Kent and the Prineess Victoria; who also * commanded* Webbe's

* Mansion of Peace,' and Mozart's quintet, from Cosi fan tuHe,

* Sento, oh Dio ! ; ' thus giving a most decided proof of their mu-
sical taste and judgment. Both the latter were performed in a
manner that must have been very satisfactory to the royal auditors.

A ' scena/ Darkness, the words by Lord Byron, composed by
^ Mr. Barnett, was new to us. It is for a tenor voice, accompanied
by a full orchestra. Many bold attempts are made in this, some
not unsuccessful. But being a composition that requires a second
hearing before final judgment is pronounced on it, we shall wait
that opportunity. Miss Masson gave the grand recitative, ' Ecco
il punto/ and aria, ' Non piu di fiori,' from Tito, charmingly, and
Was accompanied by Willman, — ^we need not say in the b^t man-
ner possible. The quartet from the oratorio by Haydn, mentioned
above, wanted more rehearsing. A fantasia on the oboe, by Mr.
G. Cooke, displayed greater command of the instrument than of
the pen. Mr. Horsley's quintet, Rosahelle, is pleasing when it
is really a quintet ; the trio, recitative, and solo, drag, and seem
very long. Mr. Elliott's ' Choir of bright beauties * is a favourite
four- voiced glee : its agreeable melody and general loveliness are
sufficient to account for its popularity.

Mr. Braham sang, for the first time we believe, Purcell's grand
scene, * Let the dreadful engines of eternal will,' (the mad Car-
denws soug, in Tom D'Urfey's Don Quixote) and gave an efiect
tp it of the dramatic kind which it had never before, in our time,
received; We, however, do not much admire the latter verses of
this, which, though now softened, are still too vituperative for
song, even from the lips of a maniac, and prefer the repetition of
the movement ' Can nothing warm me^ ; though not without an
alteration in the words that shall give consistency to the whole.

We had almost overlooked a madrigal by the famous Orlando
di Lasso, ' Ye nightingales so pleasant, so gay,' a fine specimen
of grave vocal harmony, — of long, holding notes, which move too
dowly to be at first understood by any but hearers very convers-
ant with the ancient masters ; it therefore was not received with
that applause which this kind of musie has, in every other in-
stance, met with at these concerts. Orlando Lassus is the musi- .
cian of whom the historian Thuanus, or De Thou^ speaks so
highly.

ROYAL ACADEMY OP MUSIC.

The first public morning concert by the pupils of this academy,
took place on Friday, March the 6th., at the Hanover Square
Hooms. Beethoven's symphony in b flat, and Spohr s overture to
Der Berggeistf were executed with considerable precision and
much spirit. A pupil of Mrs. Anderson, Miss Hopkins, per-
formed Hummel's Rondo BriUante with ^reat neatness of execu-
tion. A good aria, by M. Costa, was well sung by Mr. H. Bur-
nett : but Haydn's canzonet, ' My mother bids me bind my hair,'
did little credit to the teacher of the young lady to whom it was
assigned. Mr. Patey played with neat execution an indifferent
concerto of Mayseder. This is not a stvle of music that will make
a great violinist. A simple madrigal by Weelkes, * Welcome,
sweet pleasure,' and two pieces from Hummel's Mass in d minor,
helped to redeem the credit of the Academy, which is not a little
endangered by the admission of such names as Pacini and Mer-
cadante.

REVIEW.

Mbthods of HAaifONT, FiGCRBD Base, and CoMPosiTHMf, adapted
for Self-instruction^ by John Georob AiiBRECHTSBBROEii, [late]
Organist of the [Austrian] Imperial Courts &c. &c. &c. Trans-
lated from the last German edition^ as aupnented and arranged by
his Pvpilf the Chevalier Von Seyfried ; loith the Remarks ofM.
Chomon ; Translaied from] the last Paris Edition^ by Arnold
Merrick. 2 Volumes^ &vo, (Cocks and Ca. and Simpkin and
MawhaU.)

Thbm Tolunies ghre the fiist translaliona that have appeared in our
language of two theoretical works highly esteemed in Germany — the

* We are rejoiced to lee thig published in a pnetical iotiii, in the Samsd Muf-

STBBLfiT.

' Kvrzgefixsste Meihode den Generalbaks tu erterTmt,* and the OrujuUiisks
Answeisung zur Komposttion^f &c. of the eelebrated Alhreefatsbeiger.
A new edition of these, with Notes, and additional Examples, in 3 Tob«
8vo.y was published about ten years ago in Vienna, by the Chevalier
Von Seyfried. But a French translation of the Elementary Instruc-
tions, &c., with many explanatory and useful remarks, together with
important additions, by M. Choron, had previously appeared in Paris,
in 1814.

These are the works brought together, and put into an English dress,
by Mr. Merrick, who has rendered them more valuable by his own elu-
cidations and comments. In a short modest prefttce he has also stated
his reasons for the line he has pursued in the present publication :-—

* He has adopted M. Cboron's arrangement of the work, rather than
the Chevalier von Seyfried's, for the reasons, among others, assigned in
the preface to the last French edition ; X and thus the supplementary
plates, as they are called by M. Choron, will shew the principal addi*
tions made to Albrechtsbexger's tlieoretical works by his pupil, Sey-
fried.* — (xiv.)

The public generally will be thankful to the translator for having
transposed the examples into the treble clef, and also for a full and
most excellent index. We hope yet to see the day when the mean, or
c clef, shall bewnplly superseded. Very few books of any value are
now printed without an index.

' The present edition is distinguished firom all the others by a copious
index, and by having the itiajority of examples in the tenor-clef trans-
posed into the base or trebfe-clef, there being no valid reason why
readers, who are not lamiliar with the c clef, should be compelled to
encounter a needless combination of difficulties.' — (xv.)

Before proceeding further, it may be satisfactory to our readers to
learn something concerning the author of this work, whose very name
is almost unknown in this Country, even to professional musicians.

JoHANN Georo Albrecutsberobr wrs Dom in Lower Austria, in
1736. In his seventh year he was admitted as a chorister in the chapel
of his native town ; and the curate of a neighbouring church, Leonaro
PrrxNER, remarking the boy's predilection tor music, instructed him in
thorough-base, and became, Seyfried says, a real Mecsenas to him. He
then entered the gymnasium of the Benedictine Abbey at Melk, where
he studied philosophy, and afterwards became organist of the church.
Here, while quite a boy, he attracted the notice of the Emperor, who
never entirely lost sight of him : and several years after, on the death
of the imperial organist, Mann, in 1772, Albrechtsberger was called,
by the Emperor himself, to fill the vacant office. He died in 1809,
bequeathing, as a legacy to three children who, out of fifteen, survived
him, a most irreproach«i>le character. His compositions, consisting of ■
many fugues, quatuors, and an unparalleled number of masses, &c., are
little known out of Germany, though Seyfiried says of them, that they^
* bear the impression of srandeur, simplicity, and elevation.' But the
list of M. Albrechtsbergei^s pupils in harmony is as honourable to him
as his compositkms. In thb are numbered, 6eethoven, Eybler, G&ns- '
backer, Honnnel, Moscheles, IVeindl, Seyfiried, Schneider, Weigl,
&c. &c.

In M. Choron's preface Is a ramnisry of the work, which is so clear,
that we shall give it, and, to save time, in the wends of the trans-
lator.—

* On presenting to the public this combination of doctrine on har-
mony and on composition, I thmk it my duty to explain its object and
disposition ; and this I shall endeavour to do in few words.

* To beffin with what concerns harmony ; — ^nothing is easier to com-
prehend than the manner wherein the author considers this subject. .
After having regarded intervals in general as elements of chords, the
author, establishing his whole theory on the direct or inverted forms,
reduces all chords to the consonant harmonic triad, — the chord of third
and fifth, — capable of admitting, successively or simultaneously, the
addition of the dissonances of the seventh, ninth, eleventh, and thir-
teenth, — in all, five durect chords, which, with their inversions, comprise
all the chords imaginable. Every one of these chords, as well direct as '
inverted, is the object of a partraular study. The audior makes known
their different genera and species, gives rules for their employment, and
numerous examples &cilitate the comprehension of the precepts, and
make the pupil familiar with the practical operations. This discussion,
forming as it were the first part of the Method of Harmony, is followed
by the study of modulation, and the description of the various cadences,
completing this j^art of the course.

The instruction in counter-point does not offer [exhibit] less
simplicity. After having explained some notions completing the doc-
trine of harmony, such as those of concords and discords, thie motions
and keys, the author gives some rules for setting harmony over a base

* Abridged Method for ieammg Tkorwgk-bam. Vieimm, 1792.

f EiemetUmfy Intirwethm in Compimiion, with emiff mmd eopiomt Bxampiei^ i nte m de d
for Seif-imttmctim : wUk mm Appendix on the Qnaiihf and Tn u tm t ni qftktjtuirw
memtM in gmerai nte» 4to. Le^kig, 1790,

} 1 have divided, wys M. Choron, the work into two volumet, one conlaiiuiig the
te^ the other the examples eogmTed. A riew to eco nom y hat waggenksA tfaii
anraiigement. Printed in the MMry manner [•'.«•) frith the exampleB in the ■
p^ with tha text], the bnlk of the work would havobaea much sveUad out, Md
pnce coDiidccably greater^ (JgdL ^ S n/g tS em sn t)

I out, and the.

THE MUSKIAL LIBRARY.:

,fukf and a baaef wHli harmony vmder att air cQr melody, which form the
sahataDoe of every compoaitioQ. Theae preUmioary notions are termi-
naied by some obsorvatiaas on the distinction between the two styles of
iXKBposition, namely^ the ancient and modem, and on their pecnliar
qpecies.

^ This done, he undertakes to teadi the composition of simple coun-
ter-point, fiist in two ports, in the 6vt species. For that purpose he
takes two themes, or subjects, of equal notes, one in the major mode, the
other in the minor, and after having prescribed the rules of the first
species, gives an example of tbe faults that may be committed on those
tiiemes, and then shows how they are corrected. He pursues the same
course for four other species of composition in two parts, for those of
simple counter-point in three, and for those of the same counter- point
in four parts.

* The teaching of simple counter-point is followed by that of imitation
and simple fugue, in two, three, and four parts, to which the author

4idds some notions respecting inversion. Thence he proceeds to double
counter-point in the octave, tenth, and twelfth, by which he is prepared
to treat of double fugue and the different sorts of canon. The know-
ledge essential to the art of counterpoint being thus expounded, the
author concludes with some observations on composition in five parts ;
on the various styles of the church, chamber, and theatre ; and finally,
ivith some account of the musical instruments most known and employed
at present/ — (viii. ix. x.)

* Independently of the treatise on harmony, this new edition con-
tains a great numbeT of additions. The most important are, — first, the
instruction relative to the free style (^facture litre), forming chapter
twenty- four of the Method of Composition ; second, a great number of
examples contained in supplementary plates. Besides these additions
made by the author, I have thought proper to add some others intended
to complete tlie course of instruction : they consist, first, of a great
number of lessons of figured base, known in Italy under the name
parlifnentij which I have extracted from the books of a good master,
and placed immediately following the Method of Harmony, to serve as
exercises in thorough-base, and as themes in composition; second, very
detailed instruction relative to the classification of human voices — an
important object, totally omitted by the author, and on whic% people
have commonly but very inaccurate and incomplete ideas ; third, of a
fireat number of observations, some considerably developed, in which I
describe, in a more detailed and more precise way than it has hitherto been
done, the mechanical process of the formation of counter- point, an ob«
iect which always occasions much trouble to beginners, who are ignorant
how to set about it.' — (xi. xii.)

Throughout the whole of this work it appears evident that the author,
though a complete master of the science on which he writes, was un-
skilled in literary composition. His system — which only differs from
that of Fux in being applicable to modem as well as ancient harmony —
is founded on a true basis ; his precepts are excellent, and his examples
apposite and clear ; but he is defective in a very important point — in
perspicuity. This imperfection the notes both of M. Choron and Mr.
Merrick completely remedy ; they are as lucid as the original is obscure.
Without these, indeed, the work would, not have been very intelligible,
even to musicians, except those who, being themselves thoroughly
acquainted with all it proposes to teach, could have learnt nothing by
referring to its pages. .

As a work intended to supply the place of a master, it will not be found
quite adequate to the purpose. The practical musician, that is, the mere
performer, whose knowledge of harmony is imperfect, may complete
nis education by a diligent study of theise volumes ; but to the great
body of amateurs, most of whom are eager to obtain a clear insight into
what are, philosophically speaking, the principles of music, and into the
theory of composition, the work will not be found satisfactory, without
the aid of some one who not only comprehends it thoroughly, but can
also interpret its meaning. For let it be observed, that to understand
and to be able to explain are two very different things, and that the
hump, or bo9s, as cranioiogists would say for botli, cannot always be
feund in a musician's head. Though, we repeat, to the industrious but
half- taught professional student, whose ear is accustomed to harmony,
and who has attained a certain degree of skill on a keyed instrument,
these volumes will afford abundant information ; they will collect the
scattered knowledge he may have acquired, methodise and extend it,
and by giving him rules for what he has early learnt empirically, enable
him to reason on the art he professes. They will likewise furnish him with
the materials necessary to be possessed by those who wish to . become
teachers, though it is not to be expected that they will also supply him
with the faculty of communicating his knowledge to others*

FOREIGN MUSICAL REPORT.

BERLIN.

Thb last week but one of December was miserably poor in musical oc-
currences. The only event worth notice was the performance of the
Messiah by the Vocal Academy ; and even that, sad to say, went off by

no means well. Many towns (Breslao, for instance,) bring this kind
of singing to a much greater perfection than we do. Three Italiain
sang at the Elysian Hall, who belong but to an inferior order, yet serve
to illustrate the pecuhar talent of their countrymen for sinking. We
must allow them a kind of national aptitude, but not criticise uem theo^
retically, nor indeed think more of their talents than of the national
peculiarities of any other people.

On the 28th of December, Mile. Stephan made her appearance in
Spontini's Nurmahal for the last time. It is reported, this lady wants
an increase of salary, which we think a little hard, as no other stage
would have given her half the sum which she has received from us.

M. Ries gave a Quartet soiree on the 29th of December, which was
as well attended as even the very great merit of the performers deserved.

Tbe Vocal Academy performed Haydn's Secuons on the 15th of
January. On the whole, it went off well, particularly the choruses
and solos ; but yet tlie vocal and instrumental performers did not ai>-
cord sufiiciently with each other. The oratorio was abridged, and this,'
we think, was well ; but unfortunately, the abridgment was bx from
judicious, some of the most striking parts being omitted*

On the 19th of January the Brothers Belke gave a concert, and did
honour to their acknowledged reputation.

VIENNA.

The great mnsfeal festival was repeated on the 9th of November. It
was indeed a noble festival. The Vice-Hofcapellmeister Weigl con-
ducted Uie whole. M. Domcapellmeister G&nsbacher presided at the
piano. M. Hellmesberger, orchestra-director of the Hofopfem Theaier
and member of the Hofcapell^ played the first violin, and M. Gaustei
the second. The solo singers were Mad. Kraus-Wranitzky, Mile.
HOnig, M. Lutz, and M. Reggla. in the choruses were employed
130 sopranos, 121 altos, 126 tenors, 150 basses. Tlie orchestra con-
sisted of 59 first violins, 59 second violins, 40 tenors, 40 violoncellos,
30 double-basses, 12 fiutes, 12 oboes, 12 clarionets, 12 bassoons, 18
bug^s, 4 contra-bassoons, 6 trumpets, 3 drums, 6 sackbuts, amounting
in the whole to 843 performers. The solos and the orchestra went
through their parts with an almost miraculous precision, and the whole
was directed with a care and a dignity (which even displayed itself in
the costume of the performers) that did the greatest credit to the
managing committee. All parties concerned, from the conductor
M. Weigl down to every individual chorus singer, have gaine(? the
warmest thanks for the great honour they have conferred on our imperial
city by their talents and exertions.

MM. Jansa, Leidhecker, Holz, and Lincke, opened their quartet*
concerts on the 16th of November, at the Musical Union Hall. The
firdt three quartets (Haydn's in b major, Spohr's in n minor, Bee-
thoven's in G major) were executed with that perfection of art which
allows us to hope that we people of Vienna shall at last have a quartet
in every respect without a blemish. To M. Lincke, in particular, we
give the highest praise ; he once allowed his zeal to draw him a Httle
ont of the right way, bet he has now cured himself of this feult, and we
may safely say that in this species of music he has no occasion to fear
a rivaL

Musseus' popular tale of **• The Three Suitors " has been dramatised,
under the title of The Magic Wood, or Courtship from the Animal
Kingdom^ and set to music by Ad. Muller, but has not met with 8uecess»

DRESDEN.
On the 22nd of November was performed Alt Baha^ a grand romantic
opera by Cherubini ; and on account of the name of the composer, of
course every one went determined to be pleased. The dull part of

Discantes was very improperly given to Mad. SchrCder-Devrient, who
had hence no opportunity of displaying her fine impassioned style.
The two principal male characters, Ali Baba (base) and Nadir (tenor),
were admirably acted and sung by M. Wachter and M. Schuster; in
fact, they alone supported the opera, which by no means answered the
expectations which had been raiaed. The music is spirited, and not
unworthy of its great composer ; but then the text is dull, and drawn
out to an intolerable length. JEIad it been in two acts, instead of four,
it would doubtless have gone off much better. Altogether, we cannot
help thinking it an honour to our town to have brought on the stage*
the most modem work of the veteran Cherubini.

Maurer's Aloysia was performed on the 14th of December. The
music is pleasing, and somewhat in Uie style of Onslow's Colporteur^
though less finished. Mile. Schneider sang beautifully in the ,'part of
Aloysia, Upon the whole it made a favourable, though, perhaps, not a
very deep impression.

Les deuxJoumies, Cherubini*s celebrated opera, was brought out on
the 30th of December. M. Gloy, an excellent actor, but no singer^
took the part which gives title to the piece, while tbe Countess was
beautifully performed by Mad. Schroder- Devrient The costume was
ridiculously incorrect.

On the Mt of January died the HofsLud Kapdl singer, Joachimo
Beniucasa. He was bora at Perugia in 1 783, and pursued the trade of
a shoemaker. When he was seventeen years of age his fine base voice
attracted the notice of the Kapellmeister Moriacchi, who, firom the pure
love of art, had him instructed.

THE MUSICAL LIBRARY.

PRAGUE.

A German yenion of Pacmfs opera, V ultimo giorno di PompeU hu
1)een produced on our stage. The overture is the shortest we ever
heard, and as little worthy of notice as all the first part of the opera,
till we come to a cavattna sung by Octavia, The leading beauty is the
finale to the first act, though that of the second is not without merit.
Mad. Podhorsky acted Octavia with her usual power, and M. POck
iSalluH) sung with great effect, though he might have gone through
his recitatives with more finish. M. Demmer, as the Tribune^ sang
•with great skill, though, we regret to say, his voice is on the decline.
Mile. Kratky {Clodius) and M. Podhorsky (JPuhliwi) went throuffh
•their little parts with great care. M. Brava was improperly put in the
part of Faustuit which is far more important than that of Publius, and
-should have been filled by M. Strakaty. A new singer. Mile. *Rettich,
most strangely chose the paltry part of Menemius for her dehiU; Me-
7iemiu9 has nothing to do (at least did nothing on this occasion) but
'Bing a few recitative passages, in which, however, Mile. Rettich dis-
-played a good voice.

A Mile. Adami made her debUt as Aennchen in Ber Freisehuix. She
lias neither voice nor accomplishments ; but the high parts which she
takes, and the boldness with which she goes through them, lead us to
expect that she has been accustomed to act at some minor theatre.

MM. Hattner and Friedrich Bauer gave a concert, which opened with
Cherubini's overture to Mont St. Bernard. The audience were rather
astonished to hear an overture neither by Auber nor Bellini ; and as the
•choice had fallen on one of Cherubini*s most insipid works, it m^t with
no applause whatever. A concertino for the violoncello by Romberg,
which was played by M. Hattner, went off pretty well, and was approved
by the public. But the chef-d'oeuvre of the evening was an air from
.Meyerbeer's Crociato^ sung by Mad. Podhorsky, in which that excellent
ainger actually outdid herself. Professor Bauer began with a diverti-
mento by Kummer on the oboe, and was favourably received. We
cannot say as much for Der gute Kamerad (Tlie good Comrade), a ro-
mantic ballad by Ahland, set to music for one voice, with an accom-
paniment for violoncello and piano-forte by Conradin Kreutzer : it was
sung by M. Strakaty, and the accompaniments were played by MM.
Freisinger and Hiittner. The concert ended well with a Swiss scena
founded on parts of Rossini's William TeU^ composed by M. J. Panny,
.and played by the two gentlemen who gave the concert.

BREMEN.

Our opera, which throve so much under the direction of MM. Gerber
and Pillwitz, has lost one of its first ornaments, in the person of the dis-
tinguished tenor, M. Knaust, who is engaged by some foreign manager,
and, it is said, on very advantageous terms. A young songstress, bom
in our neighbourhood. Mile. Rulach, has created a sensation ; she was
instructed by the indefatigable M. Pillwitz. We were sorry to see that
industrious director guilty of rather bad taste ; he published one of his
operettas with *• componirt von Pillunzzo** (compoied by Pillwizzo)^
-on the title-page, as if to attract the public by thus barbarously Italian-
ising his name. Surely M. Pillwitz can rely sufficiently on his own
industry and abilities, without standing in need of such paltry devices ?

Robert the Devil and Des Adlers Horst (the Eagles' Eyry) have been
acted here, and met with success.

GOTHA

On the 22nd of December the Musical Union of this place gave
Haydn's Creation. Waiving all criticism on the performance, the at-
tempt was praiseworthy, and deserving of the warmest encouragement.

BRESLAU.

On the 6th of December Haydn's Seasons was performed for the
benefit of a charity, under the direction of the musical director, Mosevin,
and was well received. Marschner's and Devrient's Han9 Keiiing has
been represented with success on our stage.

MUNICH.
The first of the three subscription concerts took place on the 1st of
November. Beethoven's grand symphony, with the concluding chorus

for Schiller's ode ** To Joy*' was admirably performed by 200 players.
The solos were by the femaie singers, Fudis and Pellegrini, and MM.
Bayer and I^enz. M. Horn, by his execution of one of Spohr's con-
certos for the violin, met with the most deserved approbation. Mile. V.
Hasselt, in Pacini's grand scena and aria with chorus, received the most
enthusiastic applause, and was called for tumultuously. The concert
ended with a grand chorus firom Meyerbeer's God and Nature. The
room was crowded*

TRIESTE.

A most interesting concert took place on the 8rd of November. It
was not so well attended as it deserved, but the applause seemed greater
than could have been expected from the number of the audience. M.
Lauret, as a flutist, and M. Ronzi, as a violinist, displayed talents of a
very superior order.

WARSAW.

On the 23rd of October Haydn's Creation was performed by a
Musical Union for the first time, and in the Polish language.

PARIS.

Donizetti's Anna Bolena, with Grisi AsAnna and Lablache as Henry
the Eighthf has been acted at the Theatre lialien with great success.
Tamburini as Assur, in Rossini's Semiramide, has given great satis-
fiiction to the public.

THE drama-
King's Th£AT]LE.1

On Saturday the 21st of last month, the doors of this theatre opened,
the house was lighted, and the band assembled in the orchestra, but as
to the opera, there was none. A Madame (we forget the name) had
been advertised, but the measles forbade her appearance. Signora
Brambilla, however, who unsuccessfully performed on this stage some
four or five years ago, made her rentrSe in part of an act of Tancredi,
and now again produced no effect, though her improvement had
been so loudly proclaimed in those papers which are given to puffing.
She was supported by the Signori Curioni and Giubilei, the primo tenore
and primo basso of the company! As the powers of this valorous
troupe were exhausted in giving a portion of an act, the evening was
eked out by a concert on the stage, in which Mad. Stockliausen sang,
and Mr. Moscheles played. Besides which, a septet of M. Neukomm
was performed ; four out of the seven engaged in it never before having
seen it. Then came a ballet, which was about equal to the concert, but
certainly better than the scraps called an opera. We have occasionally
known this theatre in a very low state, but never in so humiliated a con-
dition as at present. Some of the papers tell us that it was not only
full, but well filled. The writers must have seen what was denied to
our vision. One critic was so fortunate as to find all good, both on the
stage and in the house. How enviable the state of mind, when every-
thing appears couleur de rose t — What extacies he will be in, should,
peradventure, matters mend I — Where will he find words to express his
delight ?

But even M, Laporte, — though he pretty well knows the gullibility
of opera-goers — finds that a company composed of Madame Galvina,
Signora Brambilla, with Signori Curioni and Giubilei, will not do, it
* is too bad ;' so money has been raised, and actually deposited in the
hands of a great city banker, to tempt Madame Pasta to come hither
immediately, from Pans, she having refused to listen to any proposal,
till the payment of her salary was absolutely secured. It is probable,
therefore, that this lady may shortly arrive. But how is she to be sup-
ported ? And is any new opera, or any revival, prepared, or likely to
be prepared, for her? Or are we to have Medea, Anna Bolena, &c.
over again? There is, in spite of all this gloom, one comfort left;
things must mend, if the house is to remain open, for it is impossible
that they should be worse. But, let it be noted, we put the case hypo-
thetically, — if the house remain open.

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET,

Fbimtid bx WILLIAM CLOWES| Dvu StbxbTi Luaxnu

MUSICAL lilBRARY.

Monthly Sb^ppUmmt

No. XIV. MAY, 1835. Price Sixpence.

Page
37

The Music of Part XIV.'

Austrian Nafioual Hymn on the Death of the

Emperor Francis ••••... 39
Zelter 41

CONTENTS.

P«g»

Musical copyright ••.••••. 42

Ancient Concerts ' • . • 43

Philharmonic Concerts 44

Royal Academy of Music 44

Page

Review • 45

Foreign Musical Report 46

Drama 47

THE MUSIC OF PART XIV.

Air, " U Amour est un eiifant trompeur.'^ — (Page 53).

This air is French, and one of those melodies in which, it is to
be presumed, the exclusive admirers of the Italian school, who
were very numerous up to the end of the last century, could discover
no beauty or merit of any kind. Dussek, however, not having
been among these, selected it, and also some others, as a subject
for variations, in which his intention was to please rather than
surprise. We intend at no distant period to print the chanson in
an entire state. The words and music are worthy of each other.

Overture to Acis and 6ra7a/ea— (Page 56).

CompoBed by Handel, in 1720.
presently speak more at large.

Of this Serenata we shall

Part of a Movement from Beethoven's Seventh
Symphony — ( Page 60) .

Critics are not unanimous in opinion on the subject of Beet-
hoven*s symphony in a, considered as a whole, but adl agree that
the movemeM of which this is the principal part, is not surpassed
in originality or beauty, by any of his works. We have given as
much of it as is conveniendy practicable by a single performer.

March, Tancredi — (Page 62).

Tancredi is nearly the earliest of Rossini's works, and particu-
larly distinguished by the freshness of its style. The March now
given is one of those pieces in the opera which are most distinctly
marked by newness of melody and effect.

Tema, with Variations — (Page 63).

From Mozart's Sonata, Opera 2. The accompaniment is for
a violin ; but flute-players, even of moderate attainments, will
find it no difficult task to adapt this to their instrument, by a few
slight alterations, which will suggest themselves. The Rondo, as
we have called it, (for the composer has bestowed no name on
the movement) will appear in Part XV. ; and though separated
from the Tema now, will, in the volume, inmiediately follow, in
its right place.

Vou II

Song— (Page 53).
To his Innamoratu^ toith a painted sash.

Young spring- gods are round us flying,
Scattering flowers with gentle hand;

Ever joyous, ever toying,
See, they wave an airy band«

Zephyr on thy pinions bear it.

Cast it round my fair-one's dress
At her mirror she shall wear it,

Rob'd in all her cheerfulness.

Deck'd with roses thou appearest,'.

Thou thyself a rose, fair maid :
One fond look on me, my fairest.

And thy lover is repaid.
Feel this heart, it throbs delighted

Sweetest, freely give thy hand ;
Let us be by bonds united.

Stronger than a flow'ry band.

Translated by J. Oxenford, Esq., from the German of

JOHANN WOLFGANG VON GOETHK,

one of the greatest poets and brightest ornaments of our age. He
was^born of affluent parents, at Frankfort on the Maine, in 1749,
and died in 1832. Goethe was endowed with a vigorous consti-
tution, and possessed the advantages which a fine figure and a
handsome couiitenance generally command. His mind was
powerful and highly cultivated, and- in brilliancy and richness of
imagination he has seldom been equalled.

Tne music is by Beethoven ; the third of his Oesange von
Goethe, op. 83.

Song— (Page 56).

O Nanny ! wilt thou gang with me,

Nor sigh to leave the flaunting town 7
Can silent glens have charms for thee.

The lowly cot, and russet gown ?

o longer drest in silken sheen.

No longer deck'd with jewels rare.
Say, can*8t thou quit each courtly scene

Where thou wert fairest of the fair ?
O Nanny ! when thou'rt far away,

Wilt thou not cast a look behind ?
Say, can'st thou face the parching ray.

Nor slurink before the wintry wind ?
O can that sofl and gentle mien

Extremes of hardsliip learn to bear,
Nor sad regret each courtly scene

Where thou wert fairest of the fair 7
O Nanny ! can'st thou love so trae.

Through perils keen with me to go 7
Or when thy swain mishap shall rae,

To share with him the pang of woe 7
Say, should disease or pain befal.

Wilt thou assume the nurse's care 7
Nor, wistful, those gay scenes recall.

Where thou wert fairest of the fair. '
And when at last thy love shall die.

Wilt thou receive his parting breath 7
Wilt thou repress each struggling sigh, ^

And cheer with smiles the bed of death 7
And wilt thou o'er his breathless clay

Strew flow'rs, and drop the tender tear 7
Nor then regret those scenes so gay

Where thou wert fairest of the fair 7

THE MUSICAL LIBRARY.

Public opinion has so long slamped a value on these verses,
that it were now superfluous lo dwell on their tenderness, sim-
plicity and beauty. They alone would be sufficient to transmit
to posterity the name of their author,

THOMAS ^ERCY, D. D. BISHOP OF DROXORE/

a descendant of the Earls of Northumberland, bom at Bridgnorth,
in 1728. His first literary production was a translation from the
Chinese. In 1763 he published Five Pieces of Runic Poetry
from the Icelandic. In 1765 he brought out the Reliques of
Ancient English Poetry, a work which, it has justly been said,
constitutes an era in the history of British literature. In 1770 he
edited the Northumberland Household Book, and likewise printed
his Hermit of fVarkworth, &c. In 1778 he was promoted to the
deanery of Carlisle, and in 1782 to the bishopric of Dromorc.
This highly-gifted, exemplary prelate died in 1811, in his eighty-
third year. . . . .
^ The composer of the music is

THOMAS CARTER,

^nativeof that country which has always excelled in the tender
and beautiful, both in lyric poetry and in melody, — Ireland ; the
land of verdure and genius, of oppression and suffering ; but on
which a better prospect is at length beginning to dawn. Mr. Carter
was patronized by an Earl of Inchiquin, by whose assistance he
completed his musical education at Naples, where he was very
kindly received by the British minister. Sir William Hamilton.
^e afterwards went to India, and took the lead in all musical
matters at Calcutta. But the climate forbade his stay on the
banks of the Hoogly, and he came to London, where imprudences
counterbalanced tne advantages that rarely fail to attend talent
and social qualities. JEIe died of a hepatic disease, and in very
straitened circumstances,, in 1804.

Mat Song— (Page 58).

Hail ! all hail ! thou merry month of May !
We will hasten to the woods away.
And scent the flowers bo sweet and gay.
Haste away» to hail the merry May !

Hark ! hark ! hark ! to hail the month of May,
How the songsters warble on each spray 1
And we will be as blithe as they. ^

Then away, to hail the merry May !

Hail ! allhail ! ihou merry month of May !
Thou hast given to every bird its mate,
Grant lovers true as kind a fate.

So shall they all bless thee, merry May ! '

Translated from the German by W. J. Walter, Esq.
The music is by Carl Maria Von Weber, from his Folkalieder,
op. 64.

As we have inserted in the Musical Library three pieces from
the Serenata of Acis and Galatea, the story on which it is founded,
briefly related, will not be out of place here. Acis, a Sicilian
shepherd, loves Galccfea, and is beloved by her, having for his
rival the Cyclop Polyphemus, whom the nymph disdains. Jea-
lous of Acis' happiness, the giant meditates his destruction, and
watching his opportunity, while the youth is in soft discourse with
Galatea, hurls at him the fragment of a rock, and he is slain. As
the sea-nymph possesses not the power to restore her Acis to
human life, she changes him into a fountain, which ever after
bears his name.

Acis, viewing Galatea from a distance, sings the following

Air— (Page 60).

Love in her eyes sits playing.

And sheds delicious death ;
Love oii her lips is straying.

And warbling in her breath.

The lovers now meet, and, sitting together, are warned by the
chorus of the approach of Polyphemus. Acis, inspifed by beauty,
and trusting thkt the

* God of love will aid him/
is inclined to encjage the giant. But Galatea dissuades him from
the attempt, bidding him ' trust her constancy and truth,* as well
as ' the powers propitious still to love.* Polyphemus having now
advanced up to them, the three sing the following

Trio— (Page 62).

Acis and Galatea. The flocks shall leave the mountainSi
*The woods the turtle-dove.
The nymphs forsake the fountsunSy
Ere I forsake my love.

Polyphemus,

Acii and GaL

Poly.

Torture! fury! rage! despair!
I cannot, cannot, cannot bear.

Not showers to larks so pleasing,
Or sunshine to the bee ;

Not sleep to toil so easing
As these dear smiles to me.

Fly swift, thoa massy ruin, fly !
Die, presumptuous Acis ! die !

Acis is slain, and the chorus mourns his death; but addressing:
the nymph, exclaims —

Cease, Galatea, ceas6 to grieve.
Bewail not when thou cans' t relieve.

To which she replies, in a recitative, —

Tis done I thus I exert nay power divine :
Be thou immortal, though thou art not mme!

Then follows the

Air— (Page 66).

Heart, the seat of soft delight.

Be thou now a fountain bright:
Purple be no more thy blood,

Glide thou like a crystal flood.

Rock! thy hollow womb disclose!

The bubbling fountain, lo ! it flows!
Through the plains he joys to rove.

Murmuring still Us gentle love.

Acis is transformed; the chorus consoles Galatea, and the drama
ends.

The words were written by

JOHN GAT,

the popular poet, whose history is so well khown^ that we shall
merely say, he was bom at Barnstaple, in 1688, and died under
the hospitablovroof of the Duke of Queensbury, in 173S, only a
few months after he had brought out, at the Haymarket theatre,
this lyric drama, set to music by Handel, who undertook the task
at the request of Pope. The story, from Ovid*s Metamorphoses,,
had before been dramatised by Motteux, and set by Eccles, but
unsuocessftiUy.

Composed by

Madrigal — (Page 69).

Now is the month of maying,
When merry lads are playing ;
Fa, la, la.

Fach with his bonny lass
A dancing on the grass ;

Fa, la, la.

The spring, clad all in gladness.

Doth laugh at winter's sadness ;

Fa, la, la.

And to the bagpipe's sound
The nymphs tread out their ground ;
Fa, la, la.

THOMAS MORLET, MUS. BAG.

who holds a very conspicuous place in musical history, though so
little is known of him personally, not even the dates of his birth
and decease having been ascertained. According to Wood,
{Athen, Oxon.) he was a pupil of Birde, obtained a bachelor*8

THE MUSICAL LIBRARY.

degree in 1588, became a g^uUeman of the chapel royal in 1592,
and is supposed to have died in or near the year 1604. His
pompositions are numerous, consisting of madrigals, and canza-
iiets for two and more voices, among which are many of great
lieeuty, exhibiting a freedom of air very unusual at that period,
and a richness of harmony that was to be expected in the works
•of so learned a theorist. He also composed services and anthems ;
and his fine service for the. burial of the dead is the glory of our
cathedral music. But his fame rests more' on his Plaine and
easie Introduction to Practical Musicke (1597), than on his com-
positions, for in the latter he had rivals, in the former, none.
His treatise is not only the first that appeared in our language,
but continued to be the best for upwards of a century and a half.
Mis remiarks on the art, and on its professors, are full of good
sense, and though he is severe, he is just. The noble Florentine,
Doni, in his Discorso sopra la perfetlione delle Melodia (1635),
speaks of him as ' Tommaso Morley, erudito musico Inglese.'

It is observed in the Harmonicon*, that * music was in the
Sixteenth century not less generally cultivated in England, than
it is in Germany in the nineteenth, and that to be ignorant of its
principles and unskilled in its practice, was then a defect in the
education of either sex, uncommon in the better classes of society,
and not very readily excused.* In corroboration of this, the .com-
mencement of Morley's Treatise — the whole of which is in dia-
logue— is quoted; the interlocutors being

ToLYMATHESj^and Philouathes^

Polymathes, Staye (brother PhilomaiheB) what haste? whither go
youso'fast? ' .

Philcmaihes, To seeke out an old frind of mine.

PoL Sut before you goe, I praie you repeat some of the discourses
which you had yester night at master Sopkobulus his banket ; for com-
monly he is not without both wise and learned guestes.

Phi. It is true indeede. And yester night, there were a number of
•excellent schollers (both gentlemen and others) ; but all the propose
^hich then waa discoursed vpon, was musicke.

Pol, I trust you were coDtented to suffer others to speake of that
matter?

' Phi. I would that had been the worst : for I was compelled to dis-
couer mine own ignorance, and eonfesse that I knewe nothing at all
in it.

PoL How so? .

Phi, Among the rests of the guestes, by chance, Master Aphron
^$me thether ^so, who falling to discourse of musicke, was in an argu-
ment so quickely taken vp and hotly pursued by Eudoxus and CcUerguSt
two kinsmen of Sopkobulus, as in his owne art he was ouerthrowne.
fiut he still sticking in his opinion, the two gentlemen requested mee to
examine his reasons, and confute them. But I refusing and pretending
ignorance* the whole companie condemned mee of discurtesie, being
fully perswaded, that I had beene as skilfuU in that art, as they tooke
mee to be learned in others. But supper being ended, and musicke
bookes, according to the custome, being brought to the table, the mis-
tresse of the house presented mee with a part, earnestly requesting mee
io sing. But when, after manie excuses, I protested vnfainedly that I
<;ould not, euery one began to wonder, yea, some whispered to others,
demanding how I was brought vp : so thut vpon shame of mine igno-
rance, I go nowe to seeke mine olde frinde master Gnorimus^ to make
my selfe his scholler.

Pol. I am glad you are at length come to bee of that mmde, though
I wished it sooner: therefore goe, and I praie God send you such good
successe as you would wish to your selfe. As for mee, I goe to heare
some Maihemaiieall Lectures^ so that, I thinke about one time wee
may both meete at oure lodging.

Phi. Farewell, for I sit upon thomes till I be gone : therefore I
will make haste. But if i be not decetued, I see him I seeke sitting
at yonder doore, out of doubt it is hee. And it should seeme bee studieth
vpon some point of musicke ; tmt I will driue bim out of his dumpe.
Good morrow, Sir.

The author of the Memoir of TTiomas Morley, in the above-
mentioned work^ has also vindicated that excellent musiciam
^hoee compositions are mentioned rather slightingly in the his-
tories of both Hawkins and Burney.

Aria e Coro — (Page 70).

Lieti fiori, ombrose piante,
Voi sol am a un saggio cor,
Che di pene h gernie amor,
Se si perde liberty

♦ YoUiv. p.210k

Le pill amabile eaten e
Son ripiene di martir,
£ piacer misto a sospir,
Non pu6 dar felicity

Lieti fieri, &c.

from the opera of II Ratio di Proserpina, written by Lorenzo Da
Ponte. Ceres has just quitted her daughter Proserpine, for a
time. Proserpine, attended by her nymphs, laments her mother's
absence^ saying, that happiness is the lot alone of the smiling
flowers and umbrageous plants by which she is surrounded : that
the sweetest of attachments are not unmixed with sorrow and
sighs. PlutOy who is watching an opportunity to bear off Pro*
serpine, takes advantage of the absence of Ceres, and succeeds in
his design. The music is by

PIETRO WINTER,

who was born at Mannheim, in 1755. His father, a brigadier in
the Palatine guards, took little interest, and less share, in the
education of his son, who, manifesting an inclination for music,
received instructions on the violin from William Cramer (father
of J. B. and F. Cramer), then leader at the court of the elector.
Winter had his first and early lessons in composition from the
Abbe Vogler, but to Salieri he always considered himself indebted
for the best knowledge he possessed of his art. In .1775 he was
appointed director of the orchestra to the theatre at Mannheim ;
and when the court was transferred to Munich, he remained in
his native town. He first composed ballets ; then instrumental
pieces, and much church music. In- 1780 his first complete
opera, Helena iind Paris, was produced. This was followed by
Bellerophon^ He then proceeded to Naples, where he brought
out his Antigone. At Venice he produced the Fratelli Rivali,
and Sacrifixio di Creta. Afterwards he went to Vienna, where
he gave Das Unterbrochene Opferfest, the drama from the pen of
the celebrated Huber. In 1803 he visited London, where he re-
mained two years, and composed his three best operas. Calypso^
11 Ratio di Proserpina, and Zaire, In these he was fortunate
enough to have the aid of a BiUington and a Grassini. After

Quitting our metropolis he proceeded to Paris, and brought out
'^anierfan at the Academie Royale, with great success. Not
equally fortunate was he with Castor et Pollux, the favourite
work of Rameau, which Winter re-set, and drew down on himself
the resentment of nearly every patriotic Frenchman. From this
time he wrote nothing — except perhaps the short comic piece,
Der Sanger und der Schneider — that merits notice; but con-
timied composing for the church, up to almost the moment of his
decease, which took place in 1825.

Austrian National Hymn, on the Death of the Emperor

Francis.

We have just received from Vienna Xh& Allgemeine Musikalischer
Anzeiger (Universal Musical Advertiser) of the 19th of March,
in which appears Castelli's Hymn on the Death of the late Em-
peror, adapted to the air composed by Haydn for the coronation
of that monarch, and now performed, both publicly and privately,
in every part of the Austrian dominions ; for the government of
Francis was quite paternal, except in that part of Italy which was
under his sway; and he was naturally affable and benevolent.
Simple in appearance and manners, and kind from disposition
rather than from policy, he was much beloved by the Viennese,
with whom he mixed m public walks, and even in the streets,
often unaccompanied by an attendant, and always without any
external indications of either royalty or superiority.

But, better to express sorrow, the first two stanzas are sung in
the minor key of o. Thus it is called a TraT^er-Oesang ; i. e. grief-
song. With the last stanza, denominated Hoffhungs-Oesang, or
hope-song, the major third is restored, and we nave Haydn's
hymn in its original form.

This, in its altered state, belonging more to the history ,of
music than to the Musical Library, we msert it in our Supplement
in preference to incorporating it with our collection'. The words
are translated, as literally as the music would admit, by John
Oxenford, £sq.

E 3

THE MUSICAL LIBRARY.
SONG OP GRIEF.

^ dolce.

#-*-

1. Grod our em-pe-ror lias tak-en^ Fran - cis from this earth is flown ! Good and just, of faith un

2. Trust in God was all his armour, Guardifig him in e - vil hour; Heav'n 's comma nd a-lone his
^> dolce.

shaken. He receives the heav*n-ly crown. In our tears our hearts, grief-stricken. Are re-flect - ed ev* - ry one. We have
mandate. Justice was his staff of power. Hencethe love of all his peo-pleWas his shield,' his proudest boast. Francis!

m^-^ \ \ r i.§ \ ri ^i^{} \ jn \ f r ri\}fif [^Qmm

lost our no - ble Father, Emp'ror Fran-cis, thou art e;one. We have lost our no-ble Father, Emp'ror Francis^ thou art gone,
ne'er shall we for-get thee, Ne-ver shall thy name be lost. Francis! ne'er shall we for-get thee, Ne-ver shall thy name be lost.

,dj J.A,f I , a. _r] n ..■>. — iJU' I I s .. . . s n

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dolce.

SONG OF HOPE.

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Though th e cup b e fraught with sorrow. Sweets of hope are min - gled there; One shall yet succeed his
O dolce.

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vir-tues, Fer-dinand, his son and heir. Like his fa-ther, he will guard us, Tend his pco- pie, tend his land: Live^long

j^ JiTl r f

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THB MUSICAL LIBRARY.

Ctorw .

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fitr^i& g^JlJ'/ui:

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live "our no - ble emp'ror. Our new em-j'ror Fer-di-nand! Lire,long live our no-ble emp'ror. Our new emp'ror Fer - dinandt

ZELTER.

Designing to give in this Supplement a series of letters from
' Goethe's interesting correspondence with his friend Zelter, and as
the. lattier'is not so well known to the English reader as to render
a biography superfluous, we preface our selection by the following
memoir, from the Harmonicon, vol. xi.

Carl Friedrich Zelter was born at Berlin, in 1758. His
father, a Saxon, had him instructed during his childhood and
youth in various elegant, as well as useful, acquirements. En-
gaged in the cultivation of his mind, for v^hich purpose he at-
tended the Joachimsthal College, he had already attained his
seventeenth year, when he was articled to his father's business,
that of a builder. Hitherto he had not shown much inclination
for music, and had manifested but little attention to the instruc-
tion he received on the piano-forte and organ, from a Berlin
organist.

After a tedious and painful illness by which he was attacked
in his eighteenth year, an extraordinary passion for music all at
once sprung up in him. But as at this period nearly the whole
of his time was devoted to his professional pursuits, the evening
alone was left to him* to; satisfy his thirst for harmony. Thus
♦whole nights were frequently spent in copying music, and in prac-
tising the violin and piano-forte. This enjoyment, however, was
but of short duration, for his instructor in the latter instrument
could no longer attend him ; and, fearing that such constant and
unwearied application might injure his health, his father endea-
voured to check his voluntary studies. But this did not stop his
progress, for as he was now deprived of his instruments, he began
to compose, for which purpose only pen, ink, and paper were ne-
"Cessary. He had no rules, and being governed only by his fancy,
his deficiency in the knowledge of co^lposition was constantly
manifesting itself, and having no acquaintance with scientific mu-
^cians, he had no means of gaining information through the
medium of conversation ; he, therefore, procured some scores of
Emanuel Bach and Hasse, the study of which showed him the
importance of order and unity in composition, and taught him
how to preserve a constant flow of melody in the middle parts.

Now,"however, his health actually began to sink under his
exertions, aiid the many privations to which his earnest applica-
tion subjected him. His thoughts were exclusively devoted to
the art by which he was enamoured, and all else was neglected.
His business was neglected for it, and his health ruined. His
. father again remonstrated^ and the young enthusiast renewed his
promises of obedience ; he for some days took more sleep, and
paid more attention to his afiairs ; but in less than a month re-
lapsed into his former habits, though he did also attend to his
drawing, his geonietry, and other business ; but at the same time
prosecuted his musical studies with all the ardour which his little
remaining strength would permit.

In the year 1783, having completed his probationary archi-
tectural drawing, he was admitted amone the number of master
'builders. And now, for the first time, he received lessons, in
counterpoint, from M. Fasch. *' I have," he himself states,
** made as much use of this excellent instruction as I possibly
Muld, in the midst of my other occupations. To thb worthy
M. Fasch I am entirely indebted for whatever merit many of my
compositions may possess.*'

After alluding to three themas with variations of his compo*
flition, published at Berlin^ and many songs, scattered in various

publications, he adds, *' I have besides composed several pieces
of music for particular occasions. The best among these, are
a cantata upon the death of Friedrich II. in the year 1787^
-and another cantata upon the birthday of a beloved mother,
in the year 1793. A variety of single arias and scenas, many of
which I scarcely even can recollect, are not to be taken into ac-
count. The concerto for the tenor which I composed in the year
* 1780, if it has merit, has on the other hand many faults, aiid is
not theoretically correct. All the rest of my musical works are
studies, consist mg of fugued choral pieces and fugues, which I
have never considered worthy of preservation. If I should here-
after be enabled to devote more time to my beloved art, I hope
to indemnify the Friends of my Muse, if any such there be,
for those works which from precipitance, or without any blame
attaching to me, have already been brought before the public."

Thus far only, M. Gerber states, " e^ttend the particulars which
M. Zelter had the kindness to furnish me. with in 1793. But it
is necessary to add a few explanatory observations. For the
benefit of such of my readers as have no other idea of a master-
builder, than that he must be begirt with a leathern apron, and
armed with a trowel, I must i*emind them, in the first place, that
M. Zclter's tools consisted solely in*^a\case of drawing instruments
and a pen ; and that no one can have any conception of his great,
his iniportant occupations, who has not had an opportunity of
witnessing the solid taste, the grandeur and splendour, of the
architecture of Berlin." How many an artist might, with a feeling
of shame, look" upon this pattern of activity, who, day after day,
superintended the building of various great edifices ; yet, never-
theless, ever bore in mind, with reference to music, the words of
Horace, nulla dies sine linea. In order, also, to be as useful as
possible when his fatiguing professional duties of the day were
completed, he in his hours of relaxation, joined the singing aca-
demy of M. Fasch, and became one of its most active members ;
indeed, it may be said that he was M. Fasch's right-hand.

And when, » in the year 1797, M. Gerber revisited Berlin, M.
Zelter, singly, at the piano-forte, directed the whole, while
M. Fasch, then become aged and infirm, was most commonly a
silent listener at one corner of the room. And this school, or
society, performed before MM. Naumann, Himmel, and other
distinguished composers, bne of Naumann's learned compositions
written for them, (a Latin psalm,) and a part of Fasch's master-
piece for four choirs. In the same year too, M. Zelter conducted
Graun's Tod Jesu at the Opera House, in which the choruses
were sung by the united members of Fasch's society ; the orchestra
having consisted of the members of the Royal Chapel, and the
best amateurs in Berlin.

The following are the titles of M. Zelter's detached papers and
compositions. On the representation of Gluck's opera,' Alceste,
at the- Berlin Opera House, from the letters of an artist published
in the fifth number of the Journal, entitled DeutschesUmd. Berlin,
1796. After many interesting observations upon the dramatic
treatment of the story by Calsabigi, he remarks, *' the conductor
of the opera should always have the right to wield the helm of the
vessel, because he is more likely to enter into the beauties, of an
excellent poem, than a poet is to understand anything of music,
even what is meant by a dissonance.' Analysb of a scene from
Benda's Romeo et Jutie^ in the first volume of the Lyceum of the
Fine Arts. Berlin, 1797-8. Datice and aria from the opera ^inir,
with variations for the piano-forte.— ^iia Maiadie^ piece cdracterU-
iique pour te Clavecin. — SchiUer*» Ode an die Freude, (Ode to
Joy,) for the piano-forte. Seize Chorales compoeees par MM.

THE MUSICAL LIBRARY

Reichardt, Giirrrch, Zelter, &c. Tnnklied (Drinking Song) of
K. Muchler. Twelve songs with piano-forte accompaniment.
The following greater vocal productions also are quoted in Rell-
stab*s catalogue. Aria di Brcmira : Grata Flauto, S^c. p. So-
prano con Flauto concertato. Rondo a 6 ; Dove sei, mia bella
Nice, ^c, p. Soprano con Flauto concertato. Fragment from
Wieland's Serafine in score ; all of which were already written
about the year 1790; and another of the same description from
his celebrated cantata, already alluded to, on the death of
Friedrich II.

The following works of his also have appeared in print; —
Memoir of Carl Friedrich Christian Fasch, by C. F. Zelter, with
a portrait; Berlin. 1801. Another set of twelve songs, with
piano-forte accompaniment. Der Taucher, (the Diver), by
Schiller, for the piano-forte. Collection of Ballads and Songs ;
books 1, 2, 3, 4. Johanna Sebus, for several voices, with piano-
forte. He subsequently collected his gems of songs and arias of
every description, and published them m numbers. There is also
a Te Deum of his composition.

In 1809, Zelter was appointed, by the King, professor of music
at the Berlin academy of arts and sciences; and as a proof that it
was not a mere empty title conferred upon him, the King called
him the very same year to Konigsberg, to attempt the revival of a
taste for church music, which had sunk to a very low ebb, a
task for which he was eminently qualified. At the commence-
ment of this year, too, a new society had been formed at Berlin,
consisting of about twenty-four male members of the singing
academy, under the name of Die Liedertafel, (the Vocal Club,)
of which Zelter was president. The members were divided into
two bodies of tenors, and two of bases ; they assembled once a
month, and sang their songs, the poetry and music being of their
own production,x their president making his remarks on them. In
fact, it was a revival, in a much improved form, of the guild of
the old German " meister-sanger," and did no little credit to the
state of cultivation, and the attainments of the dilettanti of Berlin.

M. Zelter died, at rather an advanced age, in 1832.

MUSICAL COPYRIGHT.

If the body of music-publishers had only a moiety of the good
sease and spirit which actuate the publishers of literary works,
they would get an act passed to determine the nature of musical
copyright, and fix by law the rights of musical composers. More
^ especially as relates to the power of foreign composers, living and
publishing abroad, to establish a property in their works in this
country, at the same moment that they are printing them in
Paris, Berlin, Vienna, &c.

, Attention has again been drawn to this subject, by an injunc-
tion granted by Lord Abinger, restraining Mr. T. Boosey from
printing certain parts of Auber*snew opera, Le$tocq. Mr« boosey
has in consequence published a pamphlet on the subject, in which
he sets forth the evils arising from the practice of purchasing, for
a mere trifle, the exclusive right of publishing here works com-
posed and printed abroad. He shows that this right is exercised
in a manner highly injurious to the art, and gives mercenary, ill-
jiidging, badly-advbed publishers, the power of doling out por-
tions, often the worst of a work; of metamorphosing the best com-
positions into the meanest shapes^ and of denying to the public
the use of the foreign score, though published and consequently
to be purchased abroad, except on terms of an exorbitant and per-
i)icious kind.

Mr. Boosey says that his pages

^ relate to an attempted and most injurious mo&opoly of

foreign operas, which, so far as it has been practised, has been,
and if allowed to continue, will be, the means of completely pre-
venting the musical public from obtaining some of the most beau-
tiful of the music published abroad, and of depriving all EngUsh
professors, music-pubUshers, sellers of music, engravers, stationers,
and the various other persons employed in the music-trade, from
obtaining that employment and profit which they would inevi-
tably obtain if such monopoly did not exist.

' Our object,' says Mr. B. ' is two-fold : — a justifica-tion of our
oym conduct as regards the music we have published from Lestocq,
and to arouse the attention of those whose amusement and liveli-
hood is so deeply interested in preventing the monopoly in ques-.
tion. If we sucooed in doing the latter, it will then rest with the
.British public to say whether they wiU allow sueh monopoly to

continue, to the manifest injury of British interest ; &r if this be
the effect of the law as it stands, these are times when pilblic
grievances only require to be exposed, in order to be relieved by
such legislative enactments as may be requisite.' /

It appears that M. Auber sold the copyright of Lestocq to M.
Troupenas, a Paris publisher, for 18,000 fs. (750Z.) and that the
latter assigned his right to Messrs. D'Almaine for oOZ. But this
right of course is meant to be confined to England, as doubtless
is expressed in the deed of assignment. M. Troupenas publishes
the full score of the opera in Paris> while Mr. D'Almaine gives
only an arrangement of it in fifty-three pages, but claims the
power to withhold the work from the British public in any other
shape than that in which it suits him to print it. Thus, says
lyir. Boosey,

' Besides the actual loss we have experienced in not being able
freely to import and sell Foreign Operas in their original form,
and publish good arrangements of them when required, we have
had much difficulty in making our customers understand why
they were to be deprived in London of the songs from the French
operas which they had heard at Paris ; any reasons we could
offer appearing to them perfectly ridiculous.'

Mr. Boosey shows what must be the result of Lord Abinget^s
decision, if not set aside by the House of Lords, to whom an ap-
peal is to be made.

* Any London publisher can now purchase from a foreign pub-
lisher (who has already enjoyed the full benefit of his rights in
his own country,) the sole proprietorship in Great Britain of an
opera composed expressly by a foreigner for^a foreign theatre^ to
words in a foreign language, and performed by a company, of
foreigners in a foreign country. After announcing to the trade
in threatening letters that he has so purchased it, and spending
about 51. in engraving the airs or melodies without any accompa-
niment, he can, sanctioned by the late decision, first of all prevent
its importation, and then be the means of depriving the resident
professors, engravers, printers, and music-sellers, of employment
and profit to a great extent, and also curtail the consumption of
pewter plates^ paper, &c. to an incalculable amount. This will
be evident to any one who considers the number of music-shops
there are now in Great Britain, and that each has its respective
professors, who arrange for them for various instruments, as the
piano-forte, harp, flute, violin, &c. &c., and also their respective
engravers, printers, and stationers. It should also be remarked,
that, besides the want of choice, the pubhc will thus (being
limited, as in former instances, to one indifferent arrangement^
be obliged to pay the publishers their own price ; as in the case
of the airs from ZjeHocq, which since this motion has been ob»
tained, the publishers have raised from 9s. to 129. All the cele«>
brated orchestral symphonies and overtures which appear on the
Continent, and are performed at the Philharaaonic and other Con-
certs, will be equally subject to the same prohibitory system.'

This subject was argued three years ago, in the case of Meyer-
beer's Robert le Diablc, and the New Monthly Magazine rea*
soued thus on the subject : —

' Mr. Mason (who had purchased the copyright) and his lawyers
must proceed, if they proceed at aU, on the right of an author to
sell his works in foreign countries, after having published them ill
his own. We do not see that any difference can be established
in favour of musical ideas over other ideas ; and if M. Meyerbeer
had written ^ novel of Robert le Diable, instead of an opera, and
piibUshed it in Paris, would he be entitled to complain of its
being reprinted here, or in America 7 He certainly would not.
The only condition on which he could establish copyright would be
contemporaneous publication in two or more countries through the
medium of the interests in each country. Suppose Mr. Mason had
tiof bought the score of Meyerbeer, should we still have beea de*
{Hived of the pleasure of hearing his opera ? This is not main<»
tained for a moment; then, after publication in any country of a
desired work, how are we to proceed ? We cannot copy it, for
how do we know that the score or the MS. is not actually bought
by some one who may or may not choose to publish it?-— and after
perhaps expending considerable sums upon the getting up or
printing of the affair, some possessor of a dormant right may^
spring. up, and scatter all our preparations to the winds.'

' If there is anything clear in this difficult matter of oopyrigfa(>

it is the usage that the claims of an author or composer do not

extend beyond the country or countries of original publication. •

' Musical ideas differ from others in this, tnat their laiiffuage is

universal. When a musical composer writes, he uses an dphabc*

TllE NCUSICAL LIBRABr.

and a language common to all Europe. His thoughts require no
translation : Rossini spoke perfect English on his piano. This
point alone makes for a reservation in favour of music ; but the
reservation never has been made, and never will be made, until
Europe is one universal republic, and then there must be an
arrangement with the Transatlantic world.

It should, howeyer, in candour have been stated, that to secure
any copyright in this country, it must be shown that all due diligence
had been used to publish the work in England on the very same day
on which it had been published abroad. Still this does not secure
to us a work in its original state, — as a score, for instance ; but
Mr. D'Aimaine, or any one else, having an assignment of the
copyright^ may retail out to us songs indifferently arranged, badly
set to English words, or dull divertimentos, and silly quadrilles,
then forbid oui* having an opera, perhaps a very fine one, in any
other shape.

If the English publisher would print a foreign work in a com-
plete 8tate,-^in as perfect a state, at least, as the author published
it abroad, — and sell it on moderate terms, we should not object to
foreigners who live and pubhsh out of England having the right
to claim a property in their works in this country. For on 3iis
subject we agree with the author of the Diary of a Dilettante, in
the HarmoTUcan for April, 1832, that

* The remuneration of musical genius, that is, genius for com-
position — ^is scanty enough, it must be granted, and it would be
for the general interest of society to extend rather than abridge
the privileges of composers. If the states of Europe, by enacting
protecting laws, would secure to all the right of disposing of their
works in foreign countries, as well as in their own, what a stimulus
would be given to genius ! How many men of talent, yrho now
justly think the profit unequal to the labour, would start forth, if
success were followed by adequate reward ! — How just, and at the
same time how light the tax, were every country called on to assist
in the remuneration of those who contribute to the improvement or
happiness of mankind ! The fact is, that, at present, publishers
of all countries, men having no equitable right whatever, reap all
the benefit that, upon every principle of justice and policy, ought
to be secured to the foreign author, whether literary or musical. It
would be no difficult matter to establish an international law that
would give to authors, &c. a certain right in their works in every
country, allowing them a reasonable time to dispose of their pro-
perty, or to pubhsh, and throwing open such works as might be
kept back beyond a fixed period. If the reward of genius were
in proportion to the happiness it confers, what would have been
the due of a Byron, a Scott, a Haydn, a Mozart, a Beethoven ?
How many fortunes have been amassed by the publishers of their
works, and what portion of the profits arising from these ever came
into their hands T

If by the decision of the House of Lords foreign composers shall
have a right given them of property in their works in this country,
the privilege of importing and selling foreign copies ought, by a
clause in the Copyright Act, to be granted to dealers here; other-
wise a monopoly as injurious as monstrous would be given to
persons who have no knowledge whatever of the art, and no feeling
fer it, except as traders, and in connexion with pounds, shillings
and pence.

The manner, we may here add, in which English words are
often set to foreign music is perfectly disgraceful to this country. A
publisher engages some musical person to do the work for him,
and the chances are that the qualifications of such person for the
business are confined to a little writing and reading, and a limited
knowledge of the art he professes. Of the sense of the author he
is no judge, and as to prosody he is in a state of hopeless igno-
rance; hence the confusion of long and short, of breaks in the
sense, and of those perversions which are so common in the adap-
tations of Italian, French, and German music, printed in London.
Nay, the corrections which have been made in the English text of
the Creation, a work of no ephemeral kind^ are in most instances
disregarded by conductors, therefore rejected by many singers,
and the absurd, unintelligible translation made by the German
poet is that in general use throughout Great Britain !

ANCIENT CONCERTS.

THIRD CONCERT, Wedaeaday, April 8, under the Direction of
Earl Howe.

Act I.

Orerture {Ipfugema) • . • • •

National Anthem, < Lord of heaven' • • (

Anthem, Mri. Knyvott and Miss Postans, 'Hear mv prayer'
Song, Mr. Parry, * II pensier,' (0»y*o td Euridice) . ,

Glee, 'When winds breathe soft*

Selection from Itraei in Egypi • • • «

Recit. ' The pl»gue now ceasM.'

Chonu, < He spake the word.'

Recit. < Yet Pharaoh still exalted.'

Chorus, * He gave them hailstones.'

Chorus ' He sent a thick darkness.'

Chorus, < He smote all the first-born Of Egypt*
Song, Mad. Siockhausen, * Gratias agimus ' . •

Anthem, < Sing unto God'l
Chorus, *Ciy aloud' J ^ . •

Act 11.

Overture (Pr»meth«ut) • • • •

Selection from a Service • • • •

Trie and Chorus, ' Disdainful of danger,' (Judat Mmx.)
Glee, < Since first I saw ' • • . • <

Song, Mr. Machin,<0 God of truths' (BeUhaxxar) •
Madrigal, * When Thdralb' . . • <

Trio, 'The Lord will comfort Zion ' • • ,

Chorus, ' O sing unto Jehovah ' • • •

Olvcx.

Hatbn.

Kekt.

Hatdm.

Wbbbb.

Handbl.

Hanobl.

• guglzblio.
Ckovt & Gbbatobsz.

• Bbbthovbk*

JOMBLU. ,

• Haudbi.*

Hamdbl*

• FOKD.

Hanobl.
Wbblxbs, 1600.

MOSABT.

• Hatdn.
Haydn.

Gluck's overture to Iphigenie en Aulide, with the chorus, ' Que
d'attraits ! ^ from the same opera, arranged as a second movement
hy Mr. Greatorex, pleases the partizans of all schools, and every
taste, from the most learned to the most uncultivated and simple.
The Queen having been present at this performance, in compli-
ment, most likely, to the selection of her Lord Chamberlain,
Haydn s hvmn with the English words written and adapted by
the late John Crosse, Esq., — a loyal church-and-king effusion —
was performed, with as much applause as ever is elicited from an
Ancient-concert audience ; perhaps a little more. The converti-
bility of this composition is remarkable. Written for the inau-
guration of the late emperor of Austria, it has just been tramh
formed into a dirge to bewail his death. We in England have
metamorphosed it into a political anthem, breathing nothing but
attachment to protestantism and the crown. A few years hence it
™ay> hy possibility, assume a very different form —

Coelum, et quodcunque sub illo est,

Immutat formos, tellusque, et quicquid in ilia est«

The beautiful anthem of Kent was veiy well sung by the two
ladies, and charmingly accompanied by Mr. Knyvett : neverthe-
less, we cannot but regret that so fine a band should remain in-
active while a composition is going on that is so much more ad-
vantageously heard in a church, or even in the drawing-room«
Mr. Parry, jun., sang the lovely air of Haydn in a very perfect
manner. This, till within the last year or two, has remained un-
known to the musical world ! and many ' gems of purest ray
serene ' continue buried in the libraries of collectors, which, were
the directors and managers of concerts active, might be brought
forth, to the delight of all real amateurs.

Webbe's chef-doeuvre, * When winds breathe soft,' was upon
the whole very effective, but the quality of the alto voice, and that
of the second tenoi% not being naturally good, should have been
more concealed. Miss Postans sang the highly devotional song
from Samson in a very pure style. Her rich mezzo-soprano voice
is just suited to this fine air. The suite of chonises from Israel
in Egypt was performed most splendidly. In order to hear
justice done to these great works of Handel, it is necessary to re-
pair to the Concert of Ancient Music; a. right feeling for them
seems to be the inheritance of the performers of that establish-
ment, and, certainly, the true tradition of the times is preserved
there, and there only. But we admit that their effect is greater
when executed by greater numbers. Chorists in vast masses lose
their individual defects, they blend into one mighty whole — ^be-
come a many-hundred-voice power— and produce results that
never can be obtained when only a dozen or fifteen are allotted to
each part

Madame Stockhausen in Guglielmi's sacred air would have
be«B altthat could be wished, had nature given her more fulness

THE MUSICAL UBUARY.

and strength 6f voice. This demands a force which she does
not possess : but art makes up for the deficiency, by^ supplying
her with a most correct taste, and a neatness of execution seldom
equalled. Dr. Croft*s grand anthem was admirably performed.
Tliis, with Mr. Greatorex's orchestral parts, was in its right place.
With such additions it pever qan be .heard, in a church; at least,
as forming part of divine service.

The overture to Prometheus was ably performed, but excited no
interest. . Beethoven ha? not yet been able to conciliate the An-
cients. The selection from JomeUi's Reauiem (incorrectly called
a Service) is, considered musically, calculated to maintain his re-
putation. The whole is grand and beautiful ; except that at the
very solemn words ' Agnus Dei,' which ought always to be uttered
in an imploring, half-subdued tone, the manner is not entreating,
but demanding. The meek ' dona nobis pacem,' however, atones
for the former authoritative tasto solo. Mrs. Knyvett's recitative
feind air from Jephtha we're both most correct and pleasing. 'Dis-
dainful of danger ' was executed in a very spirited manner. ' Since
first I saw your face,' a delicious piece of quiet harmony, was as
nearly perfect as possibly. Bqt why, call this a glee ? The com-
poser, if we mistake not, gives it no such name. Indeed the term,
as applied to a part-song, did not, we suspect, jexist in his time.

.The almost. unknown song, from the oratorio of Belshazzar,
was exceedingly well sung by Mr. Machin.. It is certainly a fine
composition of the bold kind, but the divisions, so fashionable in
HandePs time, are out of date now, and never, even when in the
highest favour, have been justified by any reasoning founded on
true taste. ' Madame SfockhaUsen was thoroughly at her ease in
the scena from LeNozze di Figaro. It suits her voice, her power,
and style : but why curtail the recitative ?^— and the best part of
it ? The words of the air are nearly unintelligible without the
whole of the scena.

The concert was altogether very satisfactory, and the room well
filled, — with, as a matter of course, persons accustomed to move
in the higher circles. ^ .

PHILHARMONIC CONCERTS.

SECOND CONCERT, MONDAY, APRIL 6.
Act 1.

Sinfonia (first time of perfonnance) • . . •

Aria, Mr. Panj, jun., ' Ilpensier,* (Or/eo)

Concerto, Violin, Mr. Mon .

Alia, Mile. Brambilla, < Elena, o tu ch' io chiamo,' (La Donna dei

Maurxiu

Haydn.

Bbbthoysn.

Rossuii.

BlBTUOTXN.
MOZAKT.

Sfohb.

Mozart.

> VOM WXBUU

Overture, Leonora •«••••

Act II.
Siufonia (JupUef) • • • • •

Scena, Mrs. H. R. Bishop, < Ah an omhra di speranza,' (Pietro von
Abano) .......

Quintetto, Clarinet, Two Violins, Viola, and Violoncello, Messrs.

Willinan, Loder, Watts, Moralt and Lindley
Terzetto, Mrs. H. R. Bishop, Mile. Brambilla, and Mr. Parry, jun.,
' < Soave'sia il viento,* {Con fan tuUe) • . •

Overture, Ewyanihe . - • . . . .CM.

Leader, Mr. Lodsr.— Conductor, Mr. H. R. Bishop.

The three great writers have so nearly exhausted all the mate-
rials requisite in the formation of symphonies, that we must
patiently wait till a fresh accumulation shall enable rivals to start
up and successfully dispute the crown, now so equally divided
between the illustrious triumvirate. Spohr has, we admit, not
only advanced the strongest claims to some share of the glory, but
may yet push them farther ; and our own countryman, Cipriani
Potter, has already proved himself worthy to be considered a com-
petitor, and, having plenty of time before him, may, before many
years have elapsed, show that England is ready to send a rival into
the field. In the meanwhile a new candidate has risen up in
Germany, — Maurer, well known by some excellent quartets, and
►other works of great merit. His symphony, the first, we believe,
that he has produced, was performed at the present concert, and
if it did not quite realize the sanguine expectations of many, and
justify the very warm eulo^iums of a few, it at least does not
diminish the reputation which its author has justly acquired.
This composition is in F minor. It commences with a Largo,
which breaks into an Allegro agitato. A slow movement in d
major, full of melody and expression, and though not absolutely
original, is by far the best part of the symphony, follows; and is
succeeded by a Scherzo, wnich is evidently an imitation of Beet-
hoven's, ill his Sinfonia Eroica. The finale is such a galopade,
from beginning to end, — there is so much hurry, bustle, and ap-
■ parent confusiooj especially among the violins, that it would be

rash to pronounee judgment on it after a single hearing. That
the writer has stniggl^ hard for effect; is obvious ; that he has
succeeded, we will not venture to say, till a better acquaintance
with the movement shall more clearly unfold his design^ and en*
able us to understand his mode of working it out.

Mozart*s symphony was perfect ; and not less must be said of
the overtures. That to Euryanthe should have changed places
with Beethoven's ; it is too delicate for a finale. Mori played the
finest violin concerto that exists, in a manner that no man exist-
ing can surpass. This may be considered as a symphony, with a
violin obligato, and ought to be used in the place of an overture.
Three grand instrumental pieces in one act, with all the power of
the brass band called into action, is more than the ear can well
bear, unless the tympanum is become suiSciendy indurated to
stand the shocks of so niany and such. tremendous blasts.

The quintet of Mozart is tHat which was heard with so much
delight at one of the Vocal Concerts this season. It is beautiful,
and was admirably performed. The omission too of the last
movement is judicious. - It is false delicacy to risk the success of a
whole composition from a mistaken respect for the author. Be
' true to his text,' but * truer to his fame,' and curtail or omit
when the latter is at all likely to be endangered. This was one
of Mozart's latest productions, written in September, 1789.

The vocal music was well-selected, — no Pacini, no DonizettL
Mr. Parry, jun., sang a charming air, in e, from an opera of
Haydn now almost unknown*, and did it every possible justice.
Mile. Brambilla gave the favourite air in La Donna del Lago in
a respectable manner. Her voice is powerful and extensive, but
she has not the art of so managing it as to make the n)ost advan-
tageous display of its qualities. She was, however, much ap-
plauded. Mrs. Bishop, in Spohr's scena, was very successful:
she has rarely at these concerts given more unmixed satisfaction.
The beautiful terzetto wanted ensemble. Italian and English
singers rarely consort well together. And, moreover, we believe
Mile. Brambilla is to be reckoned among those who do riot re-
cognize the merits of him whom we — perhaps fondly — consider
the greatest, immeasurably the greatest, of opera composers.

ROYAL ACADEMY OF MUSIC.

The Committee for managing this Institution have much obliged
the musical world, and done great credit to themselves, by having
caused Haydn's Seasons to be produced by the pupils. It was
performed on the 11th of April, and had never before, mrabile
diciu! been performed in this country in an entire state. At
least so the book of the words informs us, and we must pi*esume
the statement to be correct. The singers were Misses Birch,
Dickens, Cooper, Gooch, and Deakin ; Messrs. Burnett, Hum-
phreys, Shrivell, W. Seguin, Hallah, G. Le Jeune, and E. Seguin.
The whole, vocal' and instrumental,' waS more' than respectably

f)erfonned, and far exceeded our expectations ; for it was a bold and
aborious undertaking for a party of pupils, of mere learners, to
get up a work of such magnitude, not even having had the slightest
opportunity of becoming acquainted with its style, its times, or
indeed anything relating to it, except what the score furnishes,
which, in this case, as in every other, is not suflicienlly explanatory
for youthful and inexperienced persons, who generally require to
be instructed by example as well as precept.

We could not help regretting that the absurd translation of the
Baron Von Swieten should have been adopted on this ocfcasion ;
but on enquiry found that the committee had given directions that
the improved version should be used, whicn accordingly was
printed ; but owing to some mistake the former was put into the
hands of the pupils, and the error detect^ed too late for correction.
Hence the first book of the words was obliged to be suppressed,
and the faulty text, as it appeu^ in the score, was circulated
among the audience.

Between the first and second parts a fantasia for the flute was
played by Master Richardson, who executed it marvellously well.
If he proceed as he has begun, he will soon become an able sub-
stitute for his master, Nicholson, and be prepared to step into his
place whenever he shall vacate it.

The room was very well filled. In the royal box was the Mar-
epravine of Hesse-Homberg; (late Princess Elizabeth), accompanied
by the Archbishop of York, the Marquess of Ailesbury, the Lords
Saltoun and Burghersh, Sir Gore Ouseley, Sir Creorge Clerk, Sir
Andrew Barnard, &c.

* Thif will tbortly appear in the Muucal Libiurt«

THE MUSICAL LIBRARY.

REVIEW.

1. Oysrture to (he Grand Op^raqf Hkemann, or the Broken Spear,
j ; arranged as a Dvkrfcr the Piano'-firie ; composed by John Tbom-

BON (of Edinburgh). (Bawes.)

2. Hunting Sono, * Oh ! 'tis a cheeripg sight to view,' in the same^
composed and published by the same,

3. SoNO, * Oh, calm thy bosom's anxious beating/ do. do. do.

4. ScENA, * I shudder at my past career/ do. do. do.

5. Air, ' Let me pass ! ' do., do. do.

The above are fiirther publications from Mr. Thomson's most ably-
written opera.

The overture, in d minor, and in two movements — an adagio and an
allegro, is evidently by an kUve of the modem German school. At first
hearing it appears sombre, and, in truth, the minor key is too prevalent ;
but it improves on acquaintance, and will meet with great favour from
the numerous admirers of recondite music.

No. 2 is, in our opinion, the most spirited, well- sustained hunting-
8ong of modern days. It must be admitted that we do not now meet
with much music of the kind, a fact which we hail as an indication of
the moral improvement of the people, with whom the taste for the chase'
is certainly on the decline.^ But we song is the legitimate offspring of
a drama, the action of which is supposed to take place in a semi-barba-
loos age.

There is more of elegance than novelty in No. S, though there are
some new and charming points in the accompaniment, and the whole is
easy for the singer. -

^ No. 4, an accompanied recitative and air, is a most masterly, beau-
tiful composition. Hermann discovers that his captive, against whom
he had formed unhallowed designs, is his sister ! His horror at the
crime he was about to commit is expressed in the recitative ; and we'
call attention to the modulation throughout this, as well as to the fine,
solemn adagio in e. The air, in b flat, is a mild, lovely hymn of re«
pentance, addressed to the holy Virgin. We can bear testimony to this
naying dravin tears from the eyes of many, when sung — and most feel-
ingly it was sung — by Mr. Phillips, at the English Operarhouse.

Quite as effective as the former, though in a different style, and still
more marked by originality of conception, is No. 5, a short, simple
fragment, sung by Hermann (Phillips), disguised as a mendicant. The
following passage is, as well as others, most striking : —

Largo,

^^^^^^^^^^

*' *. ^ ^

Let me pass let me pass, my lied is on the

frtf r r j^-^ ^

3tZ«

Zj.f J^ $7"^^!

3=^

dew-y grass ; and pfllow'd on the

-cy

cold,

cold

stone.

¥.

1=^

5il5J:i3j=*=5

Nothing can be more dramatic than the whole concerted piece of
which this forms but a nart The iremainder of the o^ra will, we trust,
ahortly be published, when we shall not omit to notice it, for we consider
the work as an honour to the musical art of this country.

Yaeutions Brillantes pour le Piano^ sur une Cavatine de la
Stranisra de Bellini, composies par L. Niedermbyer. Op. 18.
(ChappcU.)

This is an air in an opera hj Bellini, brought out unsuccessfully at the
King's Theatre. The variations are five in number, besides a finale,
alia Polacca ; and there is an IntroduMione of very ordinary fabric.
The variations are diflicult, and really we hardly know what else to say
of them. So little difference is to be traced in modem prodoctions of the
present kind, that, verily, the publishers miffht save themselves some
expense were they to put new title-pages to whatever is from two to five
years of age, and thus send forth the old sheets ; for purchasers in

general would blindly buy, and not one in three would detect the trick
put upon them.

AuiciziA, Gran MAaaA, composed by O. Literati. (Mills.)
A spirited, agreeable march, with trios and coda. We strongly I'c-
commend this to our readers for two reasons : — first, because it will be
found to be worth the couple of shillings expended on it; — secondtv,
and chiefly, because it is a kind gift from Mr. Liverati to avety old
and respectable orchestral performer, unquestionably the first in his line*,'
who at a far-advanced age, and after having industriously psissed a long,
and irreproachable life, without being able to make any provision for
himself and an only daughter, is now labouring under circumstances
that have subdued his inctependent snirit, and rendered it desirable that
his friends, as well as the admirers of musical talent, should make some
little effort in his behalf. His desires are so moderate, and his wants
so few, that a tolerably extensive sale of this publication will produce
the means of affording him all the assistance that a modest person, of
very frugal habits, can ask or require.

The Vocal Souvenir, for 1835, by Mrs. Henrv Mason. (J. A..
Novello.>

Four Canzonets and one Duet are comprised in this publication, and;
add another proof to the many given within the last few vears of the ,
progress made and making in music by amateurs. Each and all of '
these compositions would be highly creditable to an experienced pro--
fessor ; and many who are denominated musicians, who even hold a
respectable rank as such, would find themselves taxed beyond" their,
means, were they called upon to produce any thing equal in design and
execution to what has here emanated from one who has studied the art
merely as an accomplishment

The first. The Farewell^ is a good air, with a rich and well- written-,
accompaniment. The second, * Think not of me in pleasure's bright.,
hour,' is a graceful melody, when taken slowly; but we beg leave to
ask whether largheito would, not better have expressed the author's,
meaning than andante ? Doubts on such a subject will never arise
when good sense shall prevail, and the metronome be referred to, as a
matter of course. The third, The Song of the Bride^ is gay, and very
pleasing ; and here the poetry contributes much to the effect of the song.
But the latter suffers now and then by^a misplaced pause, — ^in the di-
vision of the word ' together,' for instance, at page 2. Tlie fourth, a
duet, is simple and easy in the vocal parts, somewhat less so in the
accompaniment. The passage at ' Sweeter far than moon or stream/
(page 4) is good, and would nave been better had the lower notes in the
accompaniment been given to the second voice. The last, * Ye burning
stars,' has cost more labour than any of the preceding, and, as often
happens in such a case, with less profit The study and efifort are too-
apparent Nevertheless it is, technically speaking, cleverly written.

In future — ^for we hope to meet this lady again in print — we recom-
mend Mrs. Mason not to carry the voice so high. In the present state
of our concert-pitch, o, for general purposes, should be the boundary:
even this is a note which ought to be sparingly used, and never held out

The Cameo, containing Six Select Songs, of progressive compa^ts^
calculated to facilitale the gradual extension of the voice. The
Poetry by the best Authors. (Chappell.)

The author of the present work has attained the object set forth in his
title-page ; these songs may certainly be made to answer the intended
purpose, provkled the design is to form a low voice. There is not much
variety in the nfielodies, but they are exceedingly easy, and rather agree-
able. Why liot, however, have named the composers of them, if they
are, as stated, selections ? And we would also ask whether any good
reason can be assigned for not letting us know the source of the poetry ?
We seem to recognise the airs, though they appear to be disguised ;
and as to the verses, they are quite strangers to us, though * by the
best authors.' We fear, therefore, that our memory begins to fail ; or
that our reading in poetry has been of a still more limited extent than
we humbly supposed.

Analysis of Practical Thorough-Bass, by Edwaro Clare.

(Purday.)

The multiplication of unnecessary books is an undoubted evil, and we
consider this as an unnecessary book, it containing nothing that has
not been said over and over again and often in a more methodical,
better manner. ' In fact, unless the work before us is intended as a kind
of syllabus, or a collection of propositions to be demonstrated by a master,
we cannot discover what possible use any one can make of it. For those
who already understand what is called thorough-base want not the infor*
mation which the author gives ; and such as are ignorant on the subject
will not, without an able expositor, gain any satisfactory knowledge from
hisj>reoepts.
The arriUigement, too, is unfavourable to a learner ; it is unsystem-

known player on the trombone, who is now between

i-squan
eighty

and ninety yetn of age*

THE MUSICAL LIBRARY.

flfic: aiid theTulet, in tjpe/Ve detached from tLe examples, which are
in ) lates at the other end of the hook.

In music, as in other sciences, there are few rules without exceptions ;
hut Mr. Clare gives no ekceptiobs. What then will be the surprise of a
learner, on being told tliat the resolving the sharp seventh descending
is * highly offensive to the ear/ though he finds this very intervd
resolved, by falling to the flat seventh, fn the works of every good com-
]5cser ? The general rule is quite orthodox, but it is obvious that the ex-
ception ought to have been stated.

The rule (page 8), that * when any of the essential notes appear in the
treble, the figures that should represent them need not be used,' cannot
be admitted. Figures implj" the whole of the harmony, including of
course tiie upper part, therefore every figure employed in the repre-
Eentation of a chord must be invariably used. When the upper part is
given, it is for the purpose of governing the progression of the melody,
r.ot in order to supersede the use of figures. It will, doubtless, be under-
alood that we are now speaking of thorough-base only. If all the har-
iKony be written in the upper part, it is not only unnecessary, but per-
plexing and absurd, to put any figures whatever over the base.

Consecutives are thus defined (page 9) : * Two parts moving at an
equal distance from eacli other, and in similar motion.' If they be
l^oving, and at an equal distance, the motion must be similar. This,
however, is only a pleonasm. But, when the writer adds, ' all conse-
ctitives are forbidden by the strict rules of harmony,* we roust beg leave
to demur, seeing that consecutive sixths, and fourths, and thirds, are
among the commonest and greatest beauties of harmony.

In the same page it is said) that * all dissonances require to be blended
with consonances, to give satisfaction to the ear.' Every composition
in two parts is in contradiction of this. Again, it is said (ibidem), that
all discords should be pre[>ared, if possible. Surely the author is aware
that the chord of the seventh, and its derivations, are continually used
without the slightest preparation. In the very same page we are told of
an imperfect common-chord I A common-chord must be perfect: the
perfection of the fifth is essential, is the sine qua non^ of a common-
chord. The chord of b, d, f, to the base b, is not a common^chord,
but the second inversion of the seventh, one note being omitted.

Ihese, and a few others, are, most probably, oversights ; but in all
didactic works the utmost precision is of vital importance, and in such
cases haste or inadvertence cannot be admitted as an excuse for error.

Three Brilliant Waltzes for the Piano-Forte, composed by W. B,
Wilson. (Cocks and Co.)

Allemandes, courantes, passacailles, and chaconnes, once had their day:
the wheel has turned, and brought quadrilles and waltzes uppermost
What will follow it is impossible to say, but the probability is, that the
' ancient dances, a little altered, must return, and that the next generation
will tread in the steps 'of their ancestors. As it is now utterly hopeless
to expect that a dozen young people of both sexes can assemble in an
evening without speedily falling to waltzing, there must be a fresh
supply of music kept up, to meet the demand, and the better the music
the more bearable the nuisance of always finding the drawing-room in
a bustle, if not in adust, from tea-time till the hour of retirement for the
night (more properly than ever called the time for rest) arrives. Cela
itant, we are glsul now and then to meet with good compositions of this
kind, such as are now under notice, which do not partake of the
triviality that is so usual, and yet are far from difficult, whether to
read or 40 execute. Tlie three waltzes are detached, forming separate
publications. The first is in e flat, the second in b flat, the third in a
flat, and are all intended, we conclude, to be performed consecutively,
when Uie waltzing is bribkly kept up.

HARP.

The Terzetto from Beethoven's opera, Fidelio, arranged for the
Harp, by Charles Mo Korkell. (D'Almaine and Co.)

This is the trio, ' Fia grata al ciel,' which has been so much lauded,
whether from genuine admiration, or in the spirit that rules partizans,
we do not pretend to decide ; but we have a right to say that it never
made so much impression on us as it seemed to do on many others. It
is here well arranged, and forms an agreeable harp piece, of moderate
length, and exacting no extraordinary powers of execution.

FOREIGN MUSICAL REPORT.

BERLIN.

A variett of musical incidents distinguished the last week in January.
At M. Moser's soiree were performed one of Mozart's symphonies, the
overture to Coriolanus, and Spohr's symphony, Weihe der T5ne (The
Consecration of Sounds). Considering the difficulty of the music, the
execution was admirable; but the applause was but moderate^ On
{he 26th M. Moser solemnized Mozart's birthday, as is his annual
custom, by a concert, in which the instrumental pieces were the sym-
phonies in c major, tlie <^uintet in a major, and the concerto in d minor.

These were interspersed with several dueti trios, and arias, from VEn^
letement du S4raiL, Figaro^ and Tito, and the whole /concluded Hf'ViK
the finale to Con fan tutte, excellently performed, which excited thd
lively desire of seeing that opera again revived on our stage. On the
same evening M. Ries opened a second series of quartets, and met witlv^
general applause.

The composer C. F. Miiller, a Dutchman by birth, has been nametl.
by the Brazilian government Court-Composer to the Emperor Pedro II«

VIENNA.
The Musical Unions gave their first grand concert on the SOth of No-
vember. It was well opened by Kapellmeister Lachner's excellent first
symphoily. That gifted composer is at Mannheim, and though the com-
position went ofi^ well, there was cause to regret that he was not present
to conduct. A chorus from Assmayer's oratorio, Da8 GelUbde (the
Vow), was well sung. A dilettante performed with great taste an adagio '
and rondo on the violoncello. To say that the overtures to Ariodante
by Mehul, and a chorus from Handel's Solomon^ met with applause
would be superfluous, as their merit is too well acknowledged to warrant
a difierent reception.

We cannot help mentioning some private concerts which have taken
place here, though it may not be strictly the etiquette to record such
things in public ; but we were so charmed by the excellence of what was
given, and the real delight with which it was received, that we think il^
a want of duty to remain silent. The music, strange to say, was neither
by Rossini, nor Vaccai, nor Herz, nor Donizetti, nor Hunten — no! but
by Beethoven, the immortal Beethoven ! Here, in a circle of about
150, are to be found all the real admirers of the great master; and the
manager of the concert deserves the warmest thanks for selecting such *
pieces as would remain unnoticed by an audience less select.

The 1 4th of December was distinguished by the Union's second grand '
concert. One of Haydn's symphonies was followed by an air firom
Tancredi, We marked the contrast. A pupil of the Conservatorio
proved himself a genuine master of the oboe. The whole ended with
Keissiger's overture to Yelva and Lachner's oratorio of Moaei. The
Union also on the 2l8t of December commenced a series of Pypil Con^
certs. These have a doubly beneficial effect; by inspiring the stu-
dents with courage requisite for performance in public, and by givingr
the public itself an opportunity of judging of their pn^ress. This
first concert went off exceedingly well ; one young violinist in par-
ticular showed a talent far beyond his years, in the execution of some
variations by Mayseder. On tlie same evening Mile. Amelia Hirsch
gave a concert, iu which she displayed great skill in piano-forte playing^
while an overture by her instructor, Payer, did great honour to its comr
poser.

The Musical Society of the Empire gave us exquisite delight by the
performance of the whole of Beethoven's music to Egmont, while an
elucidatory poem by Mosengeil, adapted by Griilparzer, was recited.
The public were so charmed, that they desired a second performance ;
and this accordingly took place. The orchestra showed itself worthy of
the great work it had undertaken, and even seemed inspired by the spirit
of the composer. M. Anschiitz deserves mention for the correct style
in which he delivered the elucidatory poem.

The second Pupil Concert was held on the 1 6th of January. Haydnls
symphony in d was admirably performed. Hummel's Te Deum was
correctly executed both by chorus and orchestra. There were also a solo
OQ the violoncello, of which the introduction was the best part ; aa
overture to an opera by Ries, * Die Raiiberbraut,' which was father a
chaotic composition, though excellently performed ; s^nd the Credo from
Beethoven's first mass, wliich was too difficult for the occasion, and con-
sequently did not give satisfaction. M. Benesch gave a concert on the
same day. In a concertino and variations he showed himself master of
his instrument. His wife also shone as a pianist ; chiefly however in the
quiet and best style of playing, less in the bravura, which is the worst

The sisters Goldberg gave a concert on the 4th of January. Their
brother Joseph (just thirteen years of age) possesses extraordinary ta*
lents, which have been put in the right way by his instructor Jansa.
The boy plays in a chaste style, and, considering his age, even with
mind. His sisters sang only foreign compositions. The concert was
well attended, and the applause great.

Jotephstddt Theater. — On the 1 8th of December was performed
Kreuzer's opera, Der Taucher (the Diver), which was successful*
Mad. Kraus Wranitzky played at this theatre, and to the approbatioa
of all, introduced her splendid bravura. Whether this be exactly fitted
for the stage, we will not here decide. A new einger, M. Meliinger,
nmde his appearance, and excited much attention. His voice n exerilent^
and will yet improve ; his acting is miserable. Surely acting is part of
th6 qualification of a dramatic singer "?

Hofopfem Theaier, — Gluck'a claasical opera, IpkigpM in Tauris^
was given on the 17th of December. We are happy to say that this
fine, never-old composition was rewarded with a crowded house, and the
singers with the greatest applause. A little comic opera. Die QuUtker*
familie (the Quaker- family), with music by Neuling, appeared for the
first time on the 2nd of January ; it went off without any particular
eclat, as is the fate of most operetiqM. The part of Robert the Demi has

THE MUSICAL LIBRARY.

iteqiiitoei fresh lustre fretQ M. AVililVn admirable performance ; indeed,
•the whole opera .was gone through with success rarely to be equalled.
'Der WahnHmnige auf SL Demingo (the Madman at St. Domingo), a
,Dew opera, has been j^oduced here. The music is of the most common-
place order, elnd nothing but M« Wild's performance could have given it
At diffhtest interest.

DRESDEN.

M. Bolla gave his concert on the 12th of January. The pieces per-
formed were — the overture by Slunz^ which had often been heard before,
but on account of its, interest and skilful management is always listened
to with pleasure ; a concertino by Peckatschek, played by M. R(/lla ;
extremely difficult, but admirably performed; an aria by Raiirelli^
sung by Mad. Schr<yder-Devrient (her execution and feeling deserve
^the highest praise — the composition itself is not without merit) ; varia-
tiontfor two violins by Maurer^ played by M. Rolla and M. Winterstein.
The composer of this is well known, and the piece was equally pleasing
to the violinists and the audience. A young man of so much zeal and
talent as M. Winterstein is seldom heard ; both the performers de-
served, and we are happy to say received, the most tumultuous applause.
The second part opened with an Aria by Bellini^ sung by M. Zezi.
This was admirable as far as the execution was concerned, but we
regretted that something befter had not been selected: it was from
La Straniera^ and only adapted to the stage. Then followed, a
Divertimento for the Violoncello by Kummer, played by M. Schlick.
We have cause to regret that he is one of those modest persons who
appear in public as seldom as possible, and thereby deprives the public
ot considerable pleasure. His playing is of the very first-rate order :
he belongs to the Kummer school, but shines less in the soft than in the
energetic. A Duet from Rossini* s Semiramide was beautifully sung
by Mad. Schroder- Devrient and M. Zezi. The whole concluded with
a Fantasia by Maurer, played by M. Rolla. This is the composition
of a master, and was performed in a masterly manner.

HALLE.
The Thiiringian Musical Festival Society has opened a subscription
to build an imitation of Westminster Abbey, which is to contain a
monument of Handel, who, as is well known, was born at this place*,

LEIPZIG.

On the 7th of December died M. Schunke, who, as a pianist, has en-
joyed a twenty years distinguished reputation. He was remarkable for
the solidity of his style \ and always met with the approbation and
attention which his merits, both as a performer and composer, so richly
deserved.
\^ MUNICH.

Mile. Pixis, the daughter of the .celebrated Parisian pianist and com-
poser, has delighted the inhabitants of this place by her pure and genuine
style of singing.

A most brilliant concert took place on the 5th of January, given by
the family Kontski. These young musicians met with great encourage-
ment The concert was attended by the Royal Family.

FRANKFORT.

The friends of music were delighted on the 12th' of December by the
excellent performance of the finest parts of Mozart's IdomeneOy and some
pieces from Cherabini's Faniska. Idomeneo is inferior to none of the
master's operas in richness of melody : the effect of the choruses is most
ravishing, and the recitative of the greatest dramatic truth. The exe-
cution was admirable ; and M. Scheble, the dh^ctor of the Cecilian
Union, deserve tlie most grateful acknowledement for the care he has
bestowed in getting up such a performance. M. Schmetzer contributed
much to the success of the whole.

Bellini's opera Norma was performed here at Christmas, at a great
concert, with a double orchestra, and produced an imposing effect.
Mad. Fischer-Achten, Mile. Halbricter, MM. Schmetzer and Fischer sang
the pincipal parts. On the 7th of January the opera was brought on
the stage for the benefit of M. and Mad. Fischer. Another new opera,
from Scribe's Visite it Bedlam^ composed by M. Bosenhayn, a young
musician of this place, has been received with favour.

BRUNN.

Mile. Stctter has been singing here, and met wil^ general applause.
We have also had a great Musical Festival, for the benefit of some un-
fortunates who have been burnt out; it was successful.

PRESBURG.
A Musical Festival has taken place liere, at which 192 members
united their efforts to perform Haydn's noble Creation. The Church-
music Union, which has always shown its predilection for classical com-
positions, as well as the very correct orchestra, deserve great praise,
and tlie thanks of all who love what is good and beautiful in music.

STUTTGARD.

We have been much gratified by Adolph Schimqn, a young pianist,

* We imagine that there mutt le gome mi»iaks in thts>-raiM a imii in frugal
Qtmdny to srect such a building! (Edi/or.)

aged 14 years, who came here from Munich. He played twice at the
theatre, between the acts. His execution in tlie perfornianco of the
most difii^ult passages was wonderful, but still more the great ability
he displayed in composition. This talent was brought to light at a
private theatre, where a song by Uhland, another bv Heme, and a
canzonet by Metastasio, were performed, all of which the youth ^had
composed, all of a different charaoter, and all adapted to the genius of
the poetry. ^

PRAGUE.

On the 6th of -November, at the Church of St. Egyd, the annual so-
lemnity took place, the music being all by M. SeyMed. The deep irn*
pression made on this occasion gives us reason to hope that in spite of
the growing taste for the superficial, a. love for the genuine and the
beautiful will never depart from Bohemia.' The director, M. T» D.
Weber, deserves the hignest praise, and has been rewarded by his sove*
reign with the golden medal.

PARIS.
The concerts here have been ordered badly enough ; two have been
held per diem^ in which were repeated again and again the modem insig-
nificant music, with now and then a piece from Beethoven, the latter
not at all suiting the public taste. M. Berlioz has given several concerts,
the performers of which were chiefly Germans ; but alas ! the French
will prefer Bellini to Beethoven, and Berlioz is not the man to set them
in the right way. We must not, however, omit to mention the tliird
concert given by the Conservatoire, in which the Credo from Beet-
hoven's last mass, the same composer's symphony in c minor, ant^
Mozart's overture to the Zauberfidte^ were played in the highest degree
of perfection.

Der Freischutz has been performed at the Theatre Fentadour; it
was well filled, and has made a kind of epoch. Bellinfs Puritani was
given for the first time on the 23rd of January, and the theatre was
crowded. The success was great, and the singing of Tamburini, La«
blache, Rubini, and Grisi, met with general applause. The scene of the
opera lies in England, after the death of Charles the First.

NAPLES.

Donizetti's latest opera Buondelmonte has been produced here with-
out much success. Some pieces were, certainly, effective, as far as
concerns the music, but the libretto was intolerable. We have- had
an opera by Vignozzi, The Bride, performed at the TeatroFondo, which
was eminently successful ; and another at the TVa^ro Nuovo by F. Ranin-
hoph, called Love arid Confusion, which was decidedly the reverse;

The celebrated pianist, M. Duhler, gave a concert here, and shewed
that his fame had not been ill-gotten. . He met with universal ap-
plause ; and his portrait has been struck in copper. He departed on
the 10 th of January for Lucca.

Frezzolini has made no great hit here, although a part in The Neijo
Figaro was composed expressly for him.

On his MaJesty^s birthday (the 26th of January) Rvggiero^ a new
cantata by Curci, was performed at the Teatro San Carlo.

VERONA.
On the 2Sth of November died, aged 76 years, Don Luigi Beltrame,
better known among the admirers of church music by the name of Guidp.
Many of his pupils have done credit to his name, and have since united
with others in performing a funeral solemnity composed of pieces from
his own works.

PIACENZA.

Paganini, on the lOtli of December, gave a concert on the very same
boards where he almost began his brilliant career. Of course everybody
was enchanted.

THE DRAMA.

King's Theatrb.
On Thursday the 16th ult., the gloom which the wretched state of the
company, the troupe, diffused over every part of this house, was, so far
as performers were concerned, dispelled. Rossini's finest semi'Serious
opera, La Gazza Ladra^ was performed ; Fernando^ Tamburini, Gian--
netlo, IvANOFF, Podesidf Lablache, Pippo, Mile. Brambilla, and
Nirietta, Signora Gaisi. We cannot imagine a more complete getting*
up, as regards principals ; and the result, the choruses only excepted,
was almost excellence itself. The only drawbacks — ^if such trifles may
be so considered — were, that Lablachs could not look vicious enough
for the salacious, vindictive magistrate, and Ivanoff wanted a little
more animation, more of a true lover's warmth. If Grisi has not the
power to rouse him, his heart must indeed be surrounded by a Siberian
atmosphere. He, nevertheless, sang his part delightfully. His voice is
so musical, his intonation so perfect, and his manner so pure, that as a
vocalist he can hardly fail to please universally. The chorus was very
weak and faulty : the band efficient, led by Mori, who succeeds Spaq-
NoLirrr.

THE MUSICAL LIBRARY.

On Thursday the 3ScI/Jiiimi Bdena was given, Signora Gribi as the
unfortunate queen, who goes far to reconcile us to an opera which, both
dramatically and musically, we must still disapprove. Ljiblachb, as
the ferocious Henry ^ is rather too loud and boisterous. The brutal mo-
narch was savage enough, no doubt, but he had craft enough to dissi-
mulate, wh^n prudence required. His present representative seemed to
forget this, and herein, as well as in some other respects, Tamburini is
far nis superior. But we gain much by Ivanoff, instead of Rubini, in
the character of Percy, The tremor in the voice of the latter, remind-
ing one of the feebleness of age, together with his eternal flourishes,
and falsetto imitating a male soprano, render him very disagreeable to
our ears, though we grant that he is much admired by the fashionables,
both in Paris and in London. Ivanoff sang, as he always does, the
. m *' Nel veder,' with the utmost delicacy and refinement, and obtained,
-as usual, a universal encore. Mile. Brahbilla rendered the part of
Smeaton interesting. She executed the romance, *Ah! parea,' in a
very pleasing manner, and was loudly applauded.

Don Giovanni is in preparation ; Grisi as Zerlina^ and Tamburwi
as the DoTt, will both be excellent : but La^lache as Leporello^ as the
little hare, will be a caricature indeed I Who is there for Donna Anna^
Donna Elvira (a most important but neglected part), and hxMasettof

CovENT Garden Theatre.

For the first time, during, we believe, about a century, there were no re-
gular oratorios in London in the Lent season : but in the Passion-week»
two miscellaneous concerts, not confined to sacred music, were allowed
to be performed at this theatre, on the Wednesday, and even on Easter-
Eve, a thing wholly unprecedented ; and how the permission vnis ob-
tained we cannot guess. We do not object to performances during such
time, but must express our surprise that a licence should have been
granted for the benefit of a foreigner, of M. Laporte, (who we believe
was at least a partner in the concern,) though it has hitherto always been
denied to our own countrymen, to the most distinguished of our com-
posers, and to other eminent musicians.

At tliese concerts were given the usual hackneyed compositions ; the
choruses very badly performed ; other parts better. The whole corps of
the Italian Opera reluctantly attended, and sang, principally, what is
night after night given at the King's Theatre. The house was filled on
both occasions, and the profits must have been great. We trust that, in
future, the proprietors of other theatres will be allowed the same pri-
vilege, and that Messrs. Laporte and Bunn will not have the monopoly
of the Passion-week, should performances again be allowed during that
period.

English Opera House.'

This remarkably pretty and convenient theatre opened for the season on
Easter Monday, the 20th of April, with three new pieces. But before
noticing these, we will briefly state what alterations have been made in
the house during the winter.

The private boxes at the back of the balcony have been thrown open,
only dwarf partitions now dividing them from each other. They are
nevertheless dark, and should, on more than one account, have a few
lamps placed at the back of them. Six of the boxes, hitherto let pri-
vately, in other parts of the house, are now also opened to the public
generally, and, among other advantages, this much improves the ap-
pearance of the theatre. The balcony is a little extended at each end ;
the stalls are entirely^ removed ; the lower, or dress, boxes, have been
rendered more convenient, by the substitution of chairs for benches in
the back row ; and the gallery has. been lengthened on each side, by
adding to it part of the slips.

The first piece was an opera in two acts, Sadak and Kalatrade^
written by Miss Mitford, and composed by Mr. Packer. The story
is taken from the most popular of The Tales, of the Geniif the title of
which is retained. Thd following are the characters : —

The CalipAf

SadaJkt

Ka/turade,
Her Attendant^

Mr. Wilson.
Mr. BiJkifo.
Mr. H. pHiLUPt.

Misi ROMKR.
MiSi SoMXHTILUb

f The very interesting tale on which this is founded is so well known,
that it is unnecessary to repeat it. Miss Mitforo has only taken the
main incidents of it, — the unhallowed love of the Caliph for the wife
of his faithful general, Sadaky the latter being sent, at the peril of his
life, to obtain a bottle of the waters of oblivion, and the death of the
tyrant in consequence of taking a draught of these when in his posses-
sion. We cannot say that she has either managed these Well, or
availed herself of the improvements which ought to have suggested them-
selves during the rehearsals. Situations that would have been perceived

hj a practised dramatist have been neglected ; and many points which
might Itave been made in the dialogue have been lost. In the tale, the
last scene is remarkably striking ; in the opera, it is no leas distinguiebed
by an unaccountable flatness. Probably tne strenffth of this piece is in
that in which Miss Mitlbrd excels, in its poetry ; but, unfortunately, the
books of the opera were not printed, and few singers take the trounle to
pronounce a single syllable distinctly.

But whatever had been the merit of the drama, it could not have stood
under the weight of the music. The composer, four or ^ye years ago,
published a Mcena^ in which strong feeling, taste, and musical knowledge
were equally conspicuous. From such a beginning we certainly expected
a corresponding continuation. However, tne musician's as well as the
poet's muse is sometimes unwilling, and Mr. Packer's certainly was in
any sort of humour rather than a favourable one when he sat down to
this work. And here we must observe, that whoever had the inspection
of his manuscript,-^his score, — ought at once to have seen and declared
its inefliciency. Such a proceeding would have been a proof of discern-
ment, of kindness, and of a sense of what is due to the public.

Sadak and Kalatrade was heard through with exemplary patience^
though a laugh or two at the expense of the piece was not to be resisted.
Still it went to the end without interruption. But when Mr. Phillips ap-
peared to announce a second performance, the roar of negatives was like
that of a cataract. Some few clatfueurs, who had, most indiscreetly, got
an encore for the overture, again used their hands, though they could
not be heard. The condemnation was unequivocal. But let not the younff
composer be discouraged : on the /contrary, this should prove a usefiu
lesson. Let him hereafter reflect well before he appeals to the public,
and submit his next essay to a sensible friend, ere he suffers it to be put
into a manager's hands.

After this came an exceedingly laughable Farcetta, My FeUow-
Clerk, which revived our all but exhausted spirits. But in the name of
sober sense, why have prefaced it by an overture? and such a noisy,
unmeaning one! Had, however, any been found necessary, that to Let
deuxJoumSes would have been the most appropriate. My FelhuhClerk
was as successful as its precursor was otherwise. It operated as a power-
ful stimulus, and enabled us, though late the hour, to sit through the
third new piece, called The Shadow on the Wall, written by Mr. Sekle ;
the music by Mr. Thomson of Edinburgh, whose excellent music in
Hermann was last year sacrificed in so signal a manner. The principal
characters are

LuAe Evelyn,

Norritf a Cavalier, •

fVa/tott, a retired Soldier,

Lady Jtma^ •

Cioe/jf, • .

Mr. Skulk.
Mr. Hbiuino.
Mr. O. Smitk.
Mr. KasLBT.

Miss Hbalbt.
Mrs Kbblbt.

Miss NOVBLLO.

The story is this : —

Norria and Walton are suitors to the Lady Anna, or rather to her
great fortune. She'accepta the former, but, on the bridal evening^ her
husband is assassinated by fFalton, who is instigated by envy and dis.
appointment, Lvke Evelyn^ an accomplished gentleman, frenzied by
the insults of Norris^ who bears him a letter containing Lady Anna*s
announcement of her intended nuptials, in answer to his declaration of
love, leaves his bouse, breathing vengeance against his favoured and
insulting rival. He is followed by Cicely, the farmer's niece, who
entertains a secret and almost despairing passion for him, and who, in
her anxiety to soothe him and induce him to return, unwillingly causes
him, for whom she would have died, to be accused of Norris's murder ;
and this owing to a superstition that he whose shadow during moonlight
appears on the dark side of the wall, will meet a speedy and violent
death. Evelyn, on being apprehended, is unconscious of his actions
while under the influence of his frenzy, and cannot deny the imputation,
from which however he is at length cleared, by the marks on the throat
of the deceased being found to correspond with the fingers of the
assassin ; who also had taken up Evelyn's cloak and hat in haste to
escape from the scene of the murder. It was while thus disguised, that
his shadow on the wall had misled Cicely, whose affection and fidelity
are rewarded by the hand of him she loves.

. Although not friendly to the grave production of unexposed, unre-
buked, silly superstitions on the stage, we were exceedingly interested
during the whole progress of this piece. It is long, we must confess,
and some considerable curtailments might, and no doubt will be made :
nevertheless, so well contrived is the plot, and the dinouemenf is so skil-
fully kept out of sight, that attention does not flag in any one scene.
Theit is not much music in it, but what there is confirms us in the
opinion we had formed of the composer's talent: it is of a very superior
order* being not only such as a master is proud to produce, but likewise
pleasing and popular. The piece was eminently successful.

LONDON; CHARLES KNIGHT, 22, LXJDGATE STREET.

PaiMTBD Bx WILLIAM CLOWES and SONS, Duxx Bnaxr, LiinaTM.

MUSICAIi lilBRARY.

No. XV. JUNE, 1835. Price Sixpence.

Th* Music of Part XV.' 45*

On Ancient Irish Muaic 51

On the re-intxoduction of the Ancient Lyre • 52

CONTENTS.

Paff*

Ancient Concerts • • • 54

Philharmonic Concerts ••.•••. 56
Benefit Concerts 67

Foreign Musical Report
Drams

THE MUSIC OP PART XV.

Rondo— (Page 69),

firom MozART*s third Sonata, Op. 2. This is the last movement
-of that Sonata of which the preceding air with variations forms
the second.

Pastorale — (Page 75).

The principal part of Haydn's first Sonata, CEuvre 41. The
beauty and originality of this almost unknown work of the com-
poser will be at once obvious to all persons of pure taste.

Sonata — (Page 78).

The first movement of Schobert's Sonata, Op. 10. The second
movement, being unequal to the first, is omitted.

SCHOBERT,

•a native of Strasbourg, first appeared in Paris in 1760, and his
great talents, both as composer and performer (a claveciniste),
immediately procured him a lucrative appointment in the service
of the Prince de Conti. In 1768 he met an untimely death, in
consequence of eating poisonous mushrooms. What Dr. Burney
says of Schobert is so curious and worthy of remark, that we shall
extract the passage. — ^ In 1766, 1 was the first who brought his
works to England from Paris. His style never pleased in Ger-
many so much as in England and France. Those of Emanuel
Bach's party allowed .him to be a man of genius, but spoiled by

his affectation of a new and extraordinary style The

truth is, the spirit and fire of his pieces require not only a strong
hand| but a harpsichord, to give them all their force and effect.
They are too rapid, and have too manjr notes for piano-fortes, (!)
which supply the place of harpsichords in Germany. The novelty
«nd merit of Schobert's compositions seem to consist in the intro-
jduction of the symphonic, or modem overture style, upon the
harpsichord, and by liffht and shade, alternate aenhtation and
tranquillity, imitating the effects of an orchestra. The general
use of piano-fortes, for which the present compositions for keyed-
instruments are chiefly written, has more contributed to lessen the
favour of Schobert's pieces, than their want of merit.' (HUL of
Music, iv. 597.) ±he music of Schobert too rapid for the
piano-forte, and requiring more light and shade than this instru-
ment can produce ! — what kind of piano-fortes existed in 1789,
when Dr. B. published the above 7

During his short career, Schobert printed many works in Paris»
which di^lay great originality and a most vigorous mind.

SoNATA--(Page 82),

the ninth from Corblli*8 Opera Quinta, written for a violin and
base, with a thorough-base accompaniment for a kejred instru-
ment We have here inserted the hanQony> wherever it is essen*
Vol. II.

tial. This is the sonata now so frequently performed, an octave
lower, on the violoncello and double-base, by Messrs. Lindley and
Dragonetti, artists surpassing all who, in the same line, have
preceded them, and who, probably, will not be equalled till many
years have passed away. It is necessary to caution the performer
not to play the giga quicker than the metronomic number indi-
cates. If hurried, it at once becomes vulgar.

Largo— (Page 86).

The slow movement of Bebthoven's third Sonata, Op. 2, one of
the splendid set dedicated to Haydn.

Canzonet — (Page 73).

Go, lovely Rose !
Tell her that wastes her time and me

That now she knows.
When I resemble her to thee,
How sweet and fair she seems to be.

Tell her that's young.
And shuns to have her graces spy'd,

That had'st thou sprung
In deserts, where no men abide.
Thou must have uncommended died.

Small is the worth
Of beauty from the light retired :

Bid her come forth.
Suffer herself to be desired.
And not so blush to be admired.

Then die ! that she
The common fate of all things rare

May read in thee.
How small a part of time they share-^
That are so wondrous sweet and fair I

The well known song of

EDMUND WALLER,

one of the most celebrated of the English poets, and a relation of
Hampden and Cromwell. He was bom in Hertfordshire, in 1605,
inherited a large fortune, became a member of Parliament at the
age of eighteen, soon mixed himself up in the violent politics of
the day, but not very consistently or honourably, and was exiled
by the republican party. He however obtained the Protector's
pardon, wrote encomiastic verses on his death — then was foremost
m bringing about the restoration. He again entered the House
of Commons, and was chosen, when in his eishtieth year, a
representative in the first Parliament of James fl. He died in
1687. The music, written for this work, is the composition of

THOMAS ArrwooD,

who commenced his musical education in the Rojral chapel, under
Doctors Nares and Ayrton. Patronised by, and at the expense
of, the late Kinff, when Prince of Wales, he was sent to pursue his
professional studies at Naples, where he received inMructions from

THE MUSICAL LIBRARY.

Fillipo Cinque^ and Latilla. Thence he proceeded to Vienna,
and, becoming the disciple of Mozart, completed the course so
well begun, and so judiciously pursued. On his return to Eng-
land he was appointed musical instructor to the Duchess of York,
and subsequently to the Princess of Wales. In 1805, on the
death of Mr. Jones, he was appointed organist of St. PauVs
cathedral ; and the year Ibllowing succeeded Dr. Dupuis as com-
poser to the King. Mr. Attwood now devoted much of his time
to theatrical music, and many of his compositions have already
outlived the dramas of which they formed a part, and will long
continue to be admired in a detached state. The caprices of per-
formers, however, and the vexations of the stage, at length
prompted him to give a new direction to his genius, and nis
officiad situation led his thoughts to ecclesiastical music. At the
coronation of his munificent patron, George IV., he was com-
manded to compose the anthem for that ceremonial; and was
called upon to discharge a similar duty when his present Majesty
came to the throne. Mr. Attwood's other compositions are nume-
rous, and deservedly well known.

Glee— (Page 76).

Harold the Valiant.

My sliips to fair Sicilia's coast

Have row'd their rapid way,
While in their van my wcll-mann'd barque

Spread wide her streamers gay :
Arm'd at the helm, myself a host,

I seem'd in glory's orb to move.—
AH ! Harold, check the empty boast,

A Russian maiden scorns thy love !

Rough was the sea, and rude the wind, ]

And scanty was my crew.
Billows on billows o'er our deck

With frothy fury flew :
Deep in our hold the waves were lost.

Back to their bed each wave wc drove.—
Ah ! Harold, check the empty boast,

A Russian maiden scorns thy love !
What feat of hardihood so bold,

But Harold wots it well !
I curb the steed, I stem the flood,')

I fight with falchion fell :
The oar I ply from coast to coast,

On ice with flying skates I rove.—
Ah ! Harold, check the empty boast,

A Russian nkaiden scorns thy love !
Can she deny, the blooming maid, — ^

And she has heard the tale, —
When to the south my troops I led.

The fortress to assail.
How, while my prowess thinn'd the host.

Fame bade the world each deed i4)prove?">-»
Ah ! Harold, check the empty boast.

A Russian maiden scorns thy love !

The music is from the gifted and piolifie pen of the late
Dr. Callcott.

Arietta — (Page 80)»

Se resto sul lido,

Se sciolgo le vele*
Infldo, crudele.

Mi sento chiamar:
£ intanto confusa,

Nel dubbio funesto^
Non parto, non resto.

Ma prove il martire;

Che avrei nel parthrey
Che avrei del restar.

Set to music by Bonifazio Asiou.

Cakzonet— (Page 81).

Say not thai minutes swiftly move
When bktt with those we fondly love ;
AJm I each momeat seeMs to ma
▲n age of biisa when blest with tkasb

But torn away from thee, my friend.
The weary scene would quickly end ;
For, like the lightning fraught with ill.
The pang, though short, would surely kill.

We have not been able to trace the author of these verses. The
Canzonet ia the last of a second set by

JOHANN PETER SALOMON^

the excellent musician, and worthy, accomplished man to whose
spirit and enterpriscLwe are indebted for Haydn's two visits to this
country, and for his twelve grand symphonies^ — the glory of the
art, — ^written ibr Scdomon^s Concerts, at the expense of the latter,
and performed under the personal direction of the composer.
Mr, Salomon was bom at Bonn^ in the Electorate of Cologne,
in 1745^ and intended for the profession of the law; but his-
inclination for music proved too strong to be controlled, and he
was allowed to study it as a profession. He early entered the
service of Prince Henry of Prussia, who was much attached to the
young musician, and for whom Salomon composed several French
operas. In 1781 he proceeded to Paris, where the applause he
received as a first-rate violinist was great indeed^ his reward
small: he therefore accepted an invitation to settle in London, but
the exact period of his arrival here is not known. In 1790 he
formed the plan of his subscription concerts, and went to Vienna
for the purpose of engaging Mozart and Haydn to compose for
them. An arrangement was entered into with those illustrious
men, by which it was agreed that Haydn should be in London in
1791, and Mozart the year after, not only to compose, but to con-
duct the performances of their productions. Death, unhap-
pily, prevented the engagement with the latter from being carried
into effect ; but the former arrived, and the first of Salotnon*9
Concerts wdiS given at the Hanover Square Rooms, on the 11th of
February, 17§1> Haydn acting as conductor, who produced his
first grand symphony, which was received with acclamations.
These concerts were continued during the five following years, and
supported in 1794 and 1795 by the great composer who had
given so much eclat to the first season. In 1796 Mr. Salomon
gave a further proof of his discrimination, by introducing to the
public the young Braham, then not twenty years of age, who at
once stamped himself as a singer of the very highest class. In
1798 Mr. Salomon brought out The Creation, at the Opera con-
cert room. In 1801 , in conjunction with Dr. Arnold and Madame
Mara, he opened the Haymarket Theatre for oratorios ; and in
the same year had a few subscription concerts in the great room of
the King's Theatre. He now became a constant attendant, at
Carlton House ; he also employed his leisure in composing his
two sets of canxonets, glees, songs, &c. In 1813 he was one of
the active founders of the Philharmonic Society, 'the first concert
of which he led, with a zeal and ability that age had in no degree
abated.' He died in November, 1815, after a long illness, origi-
nating in a fall from his horse, and his remains were deposited in
the great dcnster of Westminster Abbey.

' Salomon was one of the few whose right to contend for the
honor of being the ^eatest performer in Europe on the violin
was undisputed : " his taste, refinement, and enthusiasm," to use
the words of Dr. Bumey, were universally admitted; and his
judgment and vigour as a leader are fresh in the memory of our
best orchestral performers. He lived chiefly in the higher circles,
where his great good sense and polished manners ever rendered
hini accentable. Indeed, his education qualified him for any
society. .His scholastic attainments were considerable, and to
them he added the more useful acquisition of four living lan-
guages, which he wrote and spoke with astonishing correctness
and fluency.' To this character of Mr. Salomon, (extracted fi^m
a memoir given in the Harmonicon for Feb. 1830), we will add^
that he was a most honourable, generous man, always reacly to*
assist in cases of charity ; and but for the care of a faithful uw-
man servant, would have endangered his very small but inde-
pendent fortune, by acts of liberality and benevolence.

Aria— (Page 84).

II pensier %ik negli oggetti,]

Da lor nasce ogni desio^
Son tiranni i nostri afietti*

£ vantiamo liberlk
Cosi augel talor si crede,

Di spiegar all' sure il volo^
B'l meschino awinto al piede^

Sdlriba UB kieeioy e non k> ti.

THE MUSICAL LIBRART.

From Haydn^s qpera, Otfea ed Euridice. Strange as it may
appear, yet it is a fact» that this exceedingly beautiful air
has remained unknown to the public, till the last and present
seasons. The opera was composed for the King's Theatre,
during Haydn's second visit to London in 1794^ but never pro-
duced in liondon; nor^ we believe, on any stage.

Ballad— (Page 86).

All in the Downs the fleet was moored,

The streamers waving in the wind.
When blsck*eyed Susan came aboard,

* Oh ! where shall I my true love find ?

* Tell me, ye jovial sailors, tell me true,

^ If my Bweet William sails among your crew V

William, who, high upon the yard,

Rock'd with the billow to and fro,
iSoon as her weit-known voice he heard.

He sighM, and cast his eyes below :
The cords slide quickly thro' his glowing hands.
And, quick as lightning, on the deck he stands.

So the sweet lark, high-poised in air.

Shuts close his pinions to his breast.
If chance his mate's shrill call he hear,

And drops at once into her nest.
The noblest captain in the British fleet
Might envy William's lips those kisses sweet

* O Susan, Susan, lovely dear,

* My vows shall ever true remain ;

* Let me kiss off that falling tear ;

* We only part to meet again :

' Change as ye list, ye winds, my heart shall be
^ The faithful compass that still points to thee.

^Believe not what the landsmen say,

* Who tempt with doubts thy constant mind ;
^ They'll tell thee sailors, when away,

* In ev'ry port a mistress find :

* Yes, yes, believe them when they tell thee so,
^ For thou art present wheresoe'er I go.

^f to far India's coast we sail,

* Thy eyes are seen in diamonds bright ;

* Thy breath is Afric's spicy gale ;

* Thy skin as ivory is white :

* Thus cv'ry beauteous object that I view

^ Wakes in my soul some cliarm of lovely Sue.

* Though battle call me from thy arms,

* Let not my petty Susan mourn ;

* Though cannons roar, yet, safe from harms,

* William shall to his dear return ;

^ Love turn aside the balls that round me fly,

* Lest preckms tears should drop from Susan's eye.'

The boatswain gave the dreadful word.
The sails their swelling bosoms spread ;

No longer must she stay aboard :

They kiss'd ; she sigh'd ; he hung his head :

Her lessening boat unwilling rowed to land :

* Adieu ! ' she cried ; and waved her lily band.

We hardly need add, that this is the popular ballad, written,
under the title of Szoeef fViUiarrCs Farewell to Black-eyed Susan,
by one of the most popular of English poets,

JOHN OAT,

^O IS so well known to every class of readers, that we shall
simply state, that he was bom of good family, near Barnstaple,
in I608, — published his Fables in 1726, — produced his Beggars*
Opera the year after at the Lincoln's-Inn Theatre, Rich then
being manager, upon which it was ludicrously said, that the
piece made ' Gat rich, and Rich gay,* — and died in 1732.

The music is commonly ascribed to Handel, who, possibly,
altered and improved the original melody : but it appears to us
quite clear that the composition is by the famous singer, Leve-
ndge, the following evidence of the fact being, in our opinion, in-
controvertible. In the Musical Miscellarty, a work in six volumes
octavo, the air is published, and the words are stated to be ' by
Mr. Gay, the Tune by Mr. Leveridge.* Now this Miscellany is
dated 1/30, when Leveridge was not only living, but actually
engaged as a public performer, — when the poet was in habits of
dauy intercourse with the literary and musical world, — and at a

time when Handel was not only a fixed resident in this metro*
pjolis, but confessedly the musical idol of the affe. Under these
circumstances, it is not likely that the ballad should have been
thus publicly attributed to him whose name is so openly aflixed
to it in the above-mentioned work, without the most satisfactory
reason. Had the statement been erroneous, some contradiction
would have appeared: Leveridge, an honourable man^ would
have disavowed the authorship, and Handel, or his friends,
would have claimed what immediately became so popular, that
the words were printed in all shapes, and the music was sung in
every quarter of Great Britain.

In the present edition of this ballad it will be seen that W9
have made some slight alterations in the melody^ more in the
base, and, cons^uently, many in the accompaniment: whether
discreetly or not, must be determined by the public voice*

RICHARD LEVERIDGE

was bom in 1670. He possessed a fine base voice, was the prin-
cipal singer in the theatres, and much distinguished himseUT by
his performance of Purcell's ' Ye twice two hundred deities/
composed for him. In 1727 he published, in two thin octavo
volumes^ A Collectian of Songs, with the Music by Mr. Leveridge,
and among these are some very pleasing melodies. Dr. Bumey
says of him — ' I remember his singing *' Ghosts of every occu-
pation," and several of Purcells base songs, occasionally, in a
style whidi forty years ago [i.e. about the year 1744] seemed
antediluvian; but as he generally was the representative of Pluto,
Neptune, or some ancient divinity, it corresponded perfectly vrith
his figure and character. He was not only a celebrated singer of
convivial songs, but the writer and composer of many that were
in great favour with singers and hearers of a certain class, who
more piously performed the rites of Comus and Bacchus, than
those of Minei-va and Apollo.' Notwithstanding his propensitieg,
"— 4uch as commonly shorten the term of life, — ^he attained the

treat age of eighty-eight. But though his habits had no in-
uence on his health, they powerfully operated on his circum-
stances; — ^he died in 1758, wretchedly poor.

ON ANCIENT IRISH MUSIC,

From the Hiatory of Ireland^ by Thomas Moobb, Es<).

' In its infant state^ poetry has been seldom separated from
music , and it is probable that most of the stanzas cited by the
annalists were meant originally to be as$;ociated with song. Of
some of the juvenile works of St. Columbianus we are told, that
they were " worthy of being sung," * and a scene brought vividly,
in a few words, before our eyes, by the Irish biographer of Colum*
bia, represents the holy man sitting, along with his brethren, upon
the banks of the beautiful lake Kee,| while among them was a
poet skilled, we are told, iu modulating song or verse *' after the
manner of his art J." That it was to the accompaniment of a
strange instrument, called the emit, they performed these songs
or chants, appears to be the most general opinion. In some dis-
tichs on the death of Columbia, preserved in the annals of the
four masters §, we find mention of this kind of harp ||, in rather a
touching passage : — " Like a son^ of the emit without joy, is the
sound that follows our master to the tomb ;*' and its common use
in the eighth century, as an accompaniment to the voice, may be
implied from Bede's account of the religious poet Ceadmon, who,
in order to avoid taking a part in the light songs of society,
always rose, as he tells us, from table when the harp was sent
round, and it came to his turn to sing and play. The Italians^

* ^ Ad canendum digna :" — 10 pronounced by his biographer, Jonas,
t In the county of RoMommon.

I Alio in tempore S. Columbia, cum juzta stagnum cei, prope ostium fluminis quod
latme B09 didtur, (i. e. the Boyle river) die aliqua cum fratribus sederet, quidam ad
eos Scoticus po6ta devenit. Qui cum recessisaet, fraiies ad sanctum, cur, inquiant>
aliquod ex more susb artis, canticum non posiulasii modulabiliter decantari. — ^Adamr
nan, lib. i. c 42.

} Ad ann. 593. Written by Dalian Feargall, and thus translated by Dr. O'Gon*
nor:—

Est medicina medici absque remedio — ^Est Dei decretum timor cum mcsrore.
£et carmea cum cythara sine gaudio— sonus sequeus nostrum Ducen sA
sepulchrum.

II Of this instrument, the harp, the Irish are said to have had four diflbrmt
species : the clarveach, the keirntne, the cronar emit, and the creamtbeine emit; for
all which, see Walker, Hiit, Mem. 0/ Iruh Bardt i BeauforO, ibid.; Appendix, and
Sedwick's Antiqvkit*. What Montfaucon, however, says of the different names
given to the Ijnre, among the ancients, may also, perhaps, be applicable here:^
<' Among this great diversity, I caaaot bat think the same instnunent must oftea be
signified by di&ient names/*

THE MUSICAL LIBRARY.

who are known fo hare been in possession of the harp before the
time of Dante, are, by a learned musician of their own country,
Galilei, said to have derived it from Ireland; the instrument,
according to his account, being no other than acithara with many
strings, and having, at the time when he wrote, four octaves and
a tone in compass.

* How little music, though so powerful in its influence on the
feelings, either springs from, or is dependent upon, intellect,
appears from the fact that some of the most exquisite effusions
of this art have had their origin among the simplest and most
uncultivated people ; nor can all that taste and science bring
afterwards to the task do more, in general, than diversify, by new
combinations, those first wild strains of gaiety or passion into
which nature had infused her original inspiration. In Greece,
the sweetness of the ancient music had already been lost^ when
all the other arts were but on their way to perfection *. And
from the account given by Giraldus Cambriensis f of the Irish
harpers of the twelfth century J, it may be inferred that the
melodies of the country, at the earlier period of which we are
speakinj^, were, in some degree, like the first music of the infant
age of Greece, and partook of the freshness of that morning of
mind and hope which was then awakening around them.

' With respect to the structure of the ancient Irish harp, there
does not appear to have been any thing accurately ascertained;
but, from that retentiveness of all belonging to the past which we
have shown to have characterized this people, it appears most pro-
.bable that their favourite instrument was kept sacredly unaltered ;
and remained the same perhaps, in later tiroes, when it charmed
the ears of English poets and philosophers §, as when it had been
modulated by the bard Cronan, in tne sixth century, upon the
banks of the lake Kee.

' It would appear that the Church music, likewise, of the Irish,
enjoyed no inconsiderable repute in the seventh century, as we
find Gertrude, the daughter of the potent Maire de Palab, Pepin,
sending to Ireland for persons qualified to instruct the nuns of
the Abbey of Nivelle in psalmody || ; and the great monasteiy of
Bangor, or Benchoir, near Carrickfergus, is supposed by Ware
to have derived its name from the white Choir which belonged
to it^. A certain set of antiquarians, whose favourite object is
to prove that the Irish church was in no respect connected with
Rome, have imagined some mode, through the medium of Asiatic
missionaries, by which her chant or psalmody might have been de-
rived to her directly from the Greeks. But their whole hypothesis
is shown to be a train of mere gratuitous assumption; and it is little
doubted that before the introduction of the Latin or Gregorian

* See Anachanis, chap. 27. notes v. vii. '< It is remarkable,*' says Wood, " that
the old chaftte Greek melody was lost ia refinement before their other arts had
acquired perfection." — Eatajf on Homer,

f Topograph. Dist. 3. e. 11. lliis curious passage, which appears, though con-
fusedly, even to imply that the Irish were acquainted with countexpoint, is prefaced
by a declaration that in their music alone does he find any thine to commend that
people. — *' In musicis solum instrumentis commendabilem invenio gentis istae dili-
gentiam." The passage in question is thus translated in Mr. Walker's Hist Mem.
of the Irish Bards : — ^* It is wonderful how, ia sach precipitate rapidity of the fingers,
the musical proportions are preserved ; and by their art, faultless throughout, in the
midst of their complicated modulations, and most intricate arrangement of notes, by
a rapidity so sweet, a reg^arity so irregular, a concord so discordant, the melody is
rendered harmonious and perfect, whether the chords of the diatesseron or diapente
are struck together, yet they always begin in a soft mood, and end in the same, that
all may be perfect in the sweetness of delicious sounds. They enter on, and aran
leave, their modulations with so much subtilty, and the tingliogs of the small strings
fport with so much freedom, under the deep notes of the bass, &c. &c

^ Mirum quod in tanta tam praecipiti digiturum capacitate musica servatur pro-
portio : et arte per omnia indemni inter crispatos modulos, organaque miUtipliciter
antricata, tam suavi velocitate, tam dis^ari paritate, tam discordi ooncordia consona
zedditur et completur melo<tia, seu diatesseron seu diapente chorda concrepent.
Semper tamen ab moUi incipiunt et in idem redeunt, ut cuncta sub jocuudsB sono-
ritatis dulcidine compleantur. Tam subtiliter modulos intrant et exeunt ; sicque
sub obtuso grossioris chordse sonitu, gradlium tiunitus licentius ludunt/* &c. &c^^-
Thpoffraph, Hibtm. dist. 3. cap, 1 1,

X " Even so late as the eleventh century,** sa^s Warton, " the practice continued
among the Welch bards of receiving instructions in the Bardic profession from
Izelaod."-— /Af«/. o/Enff/Uh Poetry,

( AUudiDg to such tributes as the following :—
'* The Irish I admire,

And still cleave to that lyre
As our Muse's mother;
And think, till I expire,
Apollo*s such another."

Dbaytow.

The following is from Evelyn's journal : — Came to see my old aoquaintanee, and
the most inconiparable player upon the Irish harp, Mr. Clarke, after his travels.
Such music before or since did I never hear ; that instrument being neglected for
its extraordinary difRcult^, but in my judgment far superior to the lute itself, or
whatever speaks with strrngs.**

H « Pour instruire la communaut^ dans la chant des Pseaumes et la modulation
des choses saintes." — Quoted from Fleury, by D* Alton, Essay, 216.

% According to 0*Hallor«a and Dr. O^Connor, thfl name Bvuhdbion ^ffuBm
SwMt choir*

chant, by St. Malachv, which took place in the twelfth century,
the style of music followed by the Irish, in their church service^
was that which had been introduced by St. Patrick and his
companions from GauP. [Cabinet CychpiBdia — of Ireland^ VoLL,
p.312, 6y r.jMborc]

ON THE RE INTRODUCTION OP THE ANCIENT •

LYRE,

Including the results of Various Experiments made since the
publication in The Harmonicon of July, 1833, as well as
Drawings of the Lyre still used in Nubia, and of the mode
of playing upon it, which completely confirms the writer's
views.

To the Editor.

Sir, — As The Harmonicon did me the honour to insert a com-
munication on this subject, it would be unjust to those of your
readers who take an interest in it (for they doubtless include
those of the late Harmonicon) if, premising all that is necessary
to make the subject clear even to new readers, I were not to sub-
mit to you the results of further observation.

In my Paper to that Journal, I observed that the violin seemed
to me to be only a modification of the earliest lyre — giving con-
tinuity of tone, and that it was evidently this change from non-
continuity to continuity of tone, and the corresponding change of
position, which rendered the violin less fit for accompanying the
voice, and which still left to the lyre its high prerogative in this
respect.

Allow me preliminarily to observe, that I find this supposition,
of the violin being only a modification of the four-stringed lyre>
confirmed by various observations.

Dr. Burney says, " With respect to an instrument with a neck,
besides that on the broken obelisk at Rome, and one from a
sepulchral grotto in the ancient city of Tarquinia, there is, in an
antique painting in the collection of William Lock, Esq., which
consists of a single figure, supposed to be a Muse, ait instrument
nearly in the form of a modern violin, but the neck is much
longer, and neither bow nor plectrum is discoverable near it.
This may have been a chelys, which was a species of guitar,
either thrummed by the fingers, or twanged with a quill. The
painting was stolen out of the Navoni sepulchre, commonly
called Ovid's tomb, and had been near two hundred years in the
Massima palace at Rome, when Mr. Lock purchased it. Bian-
chini, De lustrum. Vet., gives only one instrument in this form.
Tab. iv. No. 7, but never mentions the use of a bow. He calls,
it the chelys, or reformed Lyre of Mercury, which, says he,
' having the power of shortening the strings by means of a neck,
varied the sound of the same string, like several magades.*"
Dr. Bumey^also says that the instrument with a neck in the
hand of Orpheus (in an engraving illustrating his work) *' very
much resembles that in the ancient padnting in the possession ot
Mr. Lock." — And that instrument is obviously a violin.

Other confirmations of this view are alSbrded by the statement
of M. Charles, in his Cours d^Acoustique, as to the ancient
medals which represent Apollo playing on an instrument closely
resembling the violin, and by that of Rousseau, in his Z>io-
tionnaire de Musique, as to the various ancient instruments
which were played with a species of bow.

I forgot, however, Mr. Editor, to observe that if the violin
(adding a finger-board) thus appears to be the child, the guitar
(adding also frets) appears to be the grand-child of the- (ontr
stringed lyre ; for the observations of M. Pelzer show that the
guitar, when introduced amonf the Spaniards, was a simple iji-
strument with four strings, two being added by them to render the
instrument capable of expressing other concords and discords,
and of producing the most intricate modulations through all the
keys of the musical scale.

This view of the genealogy of these beautiful instruments ap-
pears to me extremely interesting. — But I proceed to consider
their relative power in certain respects, and the peculiar qualities
which, from recent observations, appear to me to characterize the
lyre, but which also appear to have been entirely overlooked in
modem times.

It must of course be borne in mind, that melody was the great
object of ancient or Greek music, while harmony is that of mo-

^* Sm!, on tiiiit saVjacI;, LaiiigaD| ch»p.zxn« aolt 46i»

THE MUSICAL LIBRARY.

' dern or Sclavonic and Gro^ic music. The language of the
Greeks, it appears, was, by its variety of feet, admirably fitted for
a varied ana powerful rhythm or measure ; and, from this, the
Greek melody, which was perfectly simple, derived much of its
power. The lyre, if its strings were stopped, as I have endea-
voured to show, was evidently well adapted for this. We cannot,
therefore, wonder that, desiring no increase of harmonic com-
binations, it is stated in the sentence of the Spartan Senate against
Timotheus, that, " Whereas Timotheus the Milesian, coming into
our city, and despising the ancient music, rejecting also fhat me-
lody which ariseth from seven strings, and setting off his music
by a multiplicity of strings^ and a new species of melody, cor-
rupts the ears of our youth, and instead of that which is legiti-
mate and pure, corrupting the enharmonic by new, various, and
chromatic sounds," &c.

Here I may remark that the sense of this decree is, for the first
time, rendered plain, by the doctrine of this paper; for if the an-
cients stopped the strings of the seven-stringed, or even the four-
strins^ed or ApoUonic lyre with the finger, it is evident that they
could produce every note of the chromatic scale, or even more mi-
nute divisions, and consequently every species of that which we
term melody. This decree was therefore directed only against the
increased power of producing harmonic combinations, and the
consequent practice of these combinations introduced by Timo-
theus, and here called a new species of melody. This also, for the
first time, clearly proves what was the character of Greek music
*— namely, melody and not harmony-
It appears, however, as observed by Dr. Brown, that the anci-
ents sung and played, first in unisons, octaves, and fifteenths ;
then in thirds and tenths ; and, in later periods, in fourths and
fifths — be it understood, of their scale.

As to mere instrumental music, Plato calls it •' an unmeaning
thing," and '^an abuse of melody." In the days of Aristotle,
however, it appears that the chorus of some of the dramas gave
way to melody merely instrumental, which then first assumed the
name of music. To me, it is further evident that the meagre-
ness and other defects of instrumental music subsequently gave
origin to bass accompaniments ; and accordingly, as Brown or
Bumey observes, when Guido invented the art of counterpoint or
composition in parts, instrumental music became, with its aid, a
•complete species, independent of poetry or song ; and the composer
sought for curious harmonies^ discords^ resolutions, &c., display-
ing art, to the neglect of all expression.

Which of these species of ifiusic is preferable, or what is the
precise province of each, is not here the question. The Greeks,
«our masters in all the other fine arts, preferred the former; and
to that the lyre was well adapted.

As the lyre appears to have been employed by the Ancients
•only as an accompaniment to the voice, continuity of tone was not
in- that cas« so desirable. In this point of view^ therefore, there
is no inferiority to the violin. .

Viewing . the matter, however, more generally, it results from
my experunents as to the tone of these mstruments, that the lyre
lias neither the tubby sound of. the violin played pizzicato^ nor the
wify and nasal sound of the guitar. So great, indeed, is the su-
periority of the tone of the lyre, to that of the violin plaved pizzi-
cato, and to that of the guitar, that no one can believe it without
i^aring it. The removal of the finger-board appears to open the
'tone in a most remarkable wav> and astonishes every hearer at
the vast sacrifice of tone whicn was made in order to obtain the
convenieQce and other qualities of the violin and guitar.

I previously observed that half or quarter notes may be pro-
duced on the lyre ; and that these may be run into each other,
upward or downward, by carrying the stop, correspondingly, over
the string. All slurs or legato passages have consequently a
l^eautiful effect on the lyre, where accompaniment is the object,
and much continuity is not required.

. I now find that not only does the lyre admit of the slides of the
violin, but by means of a little more or less pressure of the strings
by the stopping hand, so as to tighten or relax them, different
notes may be produced in the same place. — ^This is a most im-
portant cncumstance, which neither the violin nor guitar admit
of; which greatly contributes to the delicacy of the lyre's ex-
pression ; and which conforms to the observation of the West-
minster Review, that, in every instrument, the power of expres-
sion is in proportion to the immediateness of the contact between
the sounding materials and the performer.

It was thiSi its power of producing the half and quarter notes^

and its vast superiority of tone, which led me, in my former
communication, to express my belief, that the lyre is destined to
become, in the hands of the vocalist, precisely what the violin is
in those of the instrumentalist.

I previously mentioned the lyre*8 capability of a fuller har*
mony, as, in these days, one of its advantages over the violin — I
mean, of course, when the violin is played with the bow by com-
mon hands ; for, played pizzicato, it forms but a bad lyre or guitar.

A subordinate consideration in favour of the lyre is, that the
fingers employed in stopping the strings, being protected (as will
be seen in the sequel), suffer no injury, whereas those employed
on the guitar are hurt in the first instance, and rendered more or
less callous or insensible in the second. In this respect the lyre
excels also the harp. '

The elegant form of the lyre, and the facility of carrying it, are
also great recommendations.

But I now proceed to the practical use of the instrument.

In my former communication I said that some circumstances
seem to render it probable that, in playing on the lyre, the an-
cients stopped the strings, at various places, by means of some
metallic substance, in order to produce a great variety of notes,
and that probably the plectrum might be used for that purpose.
I am aware that both ancient writers and modem commentators
give a different representation. But, as I then observed, it seems
scarcely possible that their KiQa^at should so perfectly resemble
the guitar of the present day, without suggesting to them the
stopping of the strings of the lyre ; and I may now add, that the
rings which, in some ancient representations of the lyre, are seen
attached to the strings, can scarcely be supposed to have had
any other purpose. Be this, however, as it may, it makes little
difference in the present case. It will only make the lyre, thus
employed, a new instrument.

To stop the strings of the lyre, I have tried various experi-
ments. I first employed a plectrum for that purpose; but it
could stop only a single string. I next employed thimbles with
a groove on the side ; but these occupied too much space to pass
easily between the strings. I lastly employed thimbles with -
grooves crossing thus >|< upon the top, and I applied to the
strings only the tips of the fingers ; and these I found best to
answer the purpose.

To acquire a knowledge of the places at which to stop the
strings, is doubtless more difficult than in an instrument of
which the finger-board is covered with frets like the guitar; but
Colonel Thompson has shown how faulty these fixed frets are,
and has proposed an ingenious improvement, not however unat-
tended with some trouble to the performer. In the lyre, as now
proposed, both frets and improvements, in any degree trouble-
some, are got rid of, and all the capability of the violin is
substituted for them ; nor is there much more difficulty in stop-
ping the strings of the lyre than in stopping those of the violin.

It is true that we thus substitute, so far as regards the guitar,
a somewhat more difficult for a somewhat easier instrument ; but
that consideration sinks into nothing, when it is seen that we
substitute a perfect for an imperfect instrument.

In using the thimbles as the means of stopping, I should
remark, that one is apt to press the string most with the upper
part of the notch of the thimble ; but this is wrong, and produces
a disagreeable chink. The pressure should not be diminished,
but rather increased at the lower part of the notch.

The lyre may also be fitted up with six strings like the guitar,
if a greater choice of harmonic combination be desired.

The scale of the four-stringed lyre is precisely that of the
violin ; and all violin music is applicable to it.

The scale of the six-stringed lyre is precisely that of the
guitar ; and all guitar music is applicable to it.

^ I need scarcely add, that the instrument is slung round the
neck ; — ^that the fingers of the left hand are employed to stop
the strings from the back of the instrument, and, on the fingers
of that hand the thimbles are placed ; — that the instrument
hangs on the left side;— that the fingers of the right hand strike
the strings ; — and that instruction books for the violin afford all
the further information required in using it.

I must not, however, conclude without observing, that the
only difficulty in the use of this instrument beyond that of the
violin, is one which is connected with one of its greatest excel-
lences, namely, that the pressure on the strings requires great
nicety and care; for any undue increase or diminution of this
alters their tension, and consequently the notes which they emit.

F 3

iUHi MUSIUAI. LIBKAKY.

I had written thus far, when calling, some three or four
months ago, on Mr. Bonomi, a scientific traveller, and an admi-
rable draughtsman, who has recently returned from Egypt, he
showed me a rude Nubian lyre, in common use among the people
of that country.

Of this a sketch is given in figures 1, 2, and 3. It consists of

Fig. 1.

Nubi^ Lyre, ■}. 8cal«.

I immediately observed to Mr. Bonomi, that I was deeply
interested in knowing in what manner this instrument was played
upon ; when, to my surprise and delight, he confirmed what I
had long before stated in The Harmonicon, — what writers oa
music such as Burney had failed to understand.

He stated, that the strings are stopped, at various partly by
the fingers, and he produced, in illustration, a drawing, from
which a sketch is given in figure 4, in which a Nubian, having
passed the left wrist behind the transverse band A, applies the
tips of his fingers for this purpose.

rig. 4.

Nubian in the Attitude of Playing.

That accurate observer and profound physiologist. Sir Anthony
Carlisle, who was present at the time, remarked that the number
of the strings thus requiring to be stopped had evidently been re-
gulated by that of the fingers which might be applied to them.

I need not say with what pleasure I thus found long previous
reflection confirmed — with what happiness I saw that I had
dispelled the errors as to the Grecian lyre, or how much it has
convinced me of the utility of observing and thinking, without
much regard for written authorities.

Donald Walker.

a hollowed wooden bowl <nr basin ^for which a tortoise-sheU is
sometimes substituted), covered with skin, which, when dry^
becomes its sounding-board, through which two diverging pieces
of light wood are passed, and these are joined at their remote
extremities by a transverse piece, to which five strings of gut or
platted skin are fixed; and these are struck with a leath^m
plectrum.

Fig. 2.

Fig. S.

Back.

8i^.

ANCIENT CONCERTS.

PSBBS.

PUBCIUU

HAifnMTw

I (OmHo Sabiimk) w 84BR.

Buoitoifc^iX*
Hambbu,

FOURTH CONCERT, Wednetday, May 6, unddr the dixeetioA o£
The Earl of Cawdor.
Act L
Owwbxn {Oceationoi Oratorio.) • • . • • HANlua*

Chorua, ' Gloria in exceUia ' . \
SoDg, Mita C. Novallo, < A<;iiua Dei ' >
Chonu, < Cum Saucto Spirit u ' J

Redtl T^, T)u;ii:„„ f**Ti» Dioclc8iaii»» natal day' >
Air, S ^^^^'^^* r Go, my faithful soUiiar ' \ (nembrm.)
Cborws *• And draw a blesHiDg ' . . • )

Song, Madame Stockhausen^ * II parli in seno ' (Fomacc.) •
Se»t«t, * Domimii a df xtrit * \ ^

ChoruB, ' Gloria Patri* J ' • . ,

Madrigal, (Full choir.) * Dtv not, food man' . •

Cantata, Mr. Braham, * Let the dreadful engines' • •

Air, Mr. Hawkins, * Jehovah crown'd ' | rv^i^, \
Chorus, * He comes, he tomes' / \r*9uttr.)

AoTiL
Ov«rtui«, {La CUwwHta di Tkto,) . • • •

^l }sig.T«.buri.i.{ :g;-'.^j:;y iori«^ •

Chorus » * Avert these omens* (Semele,) • • »

Sf"*lMi.s P*stans,|; ?' »»»» ^^^ta infsjict '
Song, j""^ *^w»i«w,|, jjj q^^ harbaro'

Quartetto, ' Chi mal d' iniqua Stella'

CoBccrto2nd, {Ohoe) • . • • •

Quartet, ' IncUoa ad me ' • • « •

S<J!^g;l^^-^*^"^'^^«Ch^5 angels' I {Dvorak.) . Baiiou.

Chtmia,' Immortal Loid' • • J

There was considerable variety in this concert, Handel predo-
minating, of course, as he always must, in an English concert of
ancient vocal music. But no less than eight other names appear
in the programme, which, compared with the practice of former
times, IS a decided proof of a great amelioration in the plan of
these performances.

The truly ^and overture to the Occasional Oratorio, including
the most animating march that ever was penned, was executed
with the greatest spirit and nicety. The selection firom Mozart's
Mass, No. 1, did credit to Lord Cawdor's taste : the air, ^ Agnus
Dei,' one of this composer's happiest thoughts, was sung in a very
correct, chaste manner by Miss Clara Novello ; who, however, aa
she becomes older, more experienced, and consequently move
confident in her own powers, will, let us hope, give way to a little
more feeling, and sing with a greater degree of warmth. With-
out passion, the finest voice, the purest intonation, and the utmost
accuracy, soon ceas^ to make any impression. The bold air
from Theodora is exactly suited to Mr. Wiillips, who makes the
most of it ; and the succeeding lively chorus always pleases. The
aria of Perez is a good specimen of a master formerly held in
high esteem, but whose very name is unknown out of the precincts

THE MUSICAL LIBRARY.

of the Aneient Concert. Madame Stockhausen entered into the
character of this, and placed it in a most favourable light. The
masterly and charming sestet by Pergolesi would have had more
success had it been more rehearsed ; and the beautiful madrigal
did not begin auspiciously, but the performers acquired con-
fidence as they proceeded, and ended better than they com-
menced. Of Mr. Braham's performance of the mad scene in
Tom D'Urfey*s and Purcell's Ihn Quixote, we have spoken ia a
recent number. We repeat our wish that the latter part of the
cantata were omitted. The air and chorus from Esther have
always been fovourites with the ^ncientw, and pleased now as
much as ever : though had Miss Masson, or Miss Postans, sung
the aria parlarUe, 'Jehovah crowned/ the effect would have been
greater.

Mozart*8 overture was well performed^ but certainly not with
the spirit so observable at the Philhannonie Concerts ; indeed
the band at the latter is better calculated to give the true effect
to modern instrumental music. Signer Tamburini, in the fine
aria, ' Sorge infausta,* surprised as much as he pleased, for it was
not expected that he would enter so entirely into the spirit of a
composer with whose style he was — probably, till now called on
— wholly unacquainted. ' Avert these omens/ one of Handel's
most dramatic chorusses, was admirably performed ; but its efiect
would be greater were it made to follow something to which it
might appear to be related. Miss Postans delivered the ably-
composed recitative of Sarti with great force and judgment. In
the aria she was not quite so success&L 'Chi mai d'iniqua
Stella,' was certainly delightful ; but let it be remembered^ that
Buononcini wrote this as a round, and for three, voices, which
form is preferable to that now given it.

FIFTH CONCERT, Wednesday, Maj I3tb» under the directioaof
Lord Burghexsh.
Act I.
KsKonal AntlieRi, ' God lave the Kino.'

Beeit.) ^^ i>:.i.^« f *Mi»era! 4ove eon 'l --

Aria, } M"- ®"W, { * Ah! non so io' } * • • Mozart.

Quartet and Semi-Cho. * Chevr her' {Athalia>) . » Handbl»

Terzetto, Mrs. Bishop. Mr. Braham, Sig. Lablache, * QueUo di lite * Moiaat,
{La demenza di Ttio.)
« — — _ »^«««* w»— „ -- > .

Havsbz..

Bong, Miss Kemble, ' In sweetest hannony ' I / e i \ r

Chorus, ' O faUl day ' / ^^^''i

Chorus^' When his load voice' (Jrphtha.) • • »

Quartet, < O veto txemendo '1

8olo»<Ocieh>clemente' > {Jdomenea.) • • «

I>ead March 3

Song, Mademoiselle Giulielta Grisi, * 11 mio hen* (JVmmu)* •

Chorus,* SanctusBoniinua' 1

Quait«t,<Beaedictus' > iMm.\ • • •

HAmnn*
Hamok.

MOZABV.

FABaiBLLO.

Act XL

HABxncb

ChoiuSf ' Hosanna in ezcelsia'

ConoeTto (in G minor)

Ghovue, ( Unfold, gieat seet^ \

Chorus, * O shiuing mercy ' J

$^»-}m«1 G.Gri«.{:J^'i;;^r''«'} (JJri»m <».«»«) Moxart.

Madrigal, * Stay, Corydon, thou swain ' • • • • Wilbtb.

Song, Signer Lablache,'La8cia Amor' {Orlando.) • • Hanobl.

Trio,<Coneedi,OCiei' . . • • • Baouan.

Chorus, ' He rehuked ' )

Chorus* He led them' f {Uraeiin Egypt.) • • Hamdsu

Chorus,' But the watem' -'

The Queen honoured this performance by her presence, and
the number of visiters, amounting to about a hundred and
twenty, subscribers' friends, admitted by guinea tickets, not
only filled the room, but gave a brilliancy to it which no other
concert can successfully rival. The selection was excellent, and
at the end were heard those murmurings of satisfaction which are
quite as agreeable to the ear, though not so exhilarating to the
performers, as the inharmonious sounds produced by the violent
collision of masculine hands.

After ' God save the King,' — to listen to which so frequently
must be felt by royalty as no light tax, — a Scena, (No. 7 of Mo-
zart's single opera airs,) not written when liis muse was in the
XBOSt favourable mood, was very well sung by Mrs. Bishop. The
qvartet from Affialia, which is not so well known as it ought to
be, was as well performed as could have been expected. CHf Mr.
Bniham's ' Deeper and deeper still,' we only need say, that he
sang it as usual;

A new candidate for vocal fame now appeared. Miss Adelaide
K^nble, one of the family so long and so nighly distinguished by
talent, the second daughter of Mr, Charles Kemble. The pieces
chosen for the occasion, — ^her first public appearance, — were two
of Handel's most expressive compositions, and exactly suited to
the style which seems natural toner; for pathos, strong feeling
of either the tender or tragic kind, is evidently her forte. Her
voice is full and powerful, — ^its compass great, the best part of it
running low, into the mezzo-soprano scale, and she has acquired
from a good Italian master the art of delivering it in the best
manner. Her intonation is extremely pure, and,, as was to be
expected in one so related, her articulation is remarkably correct
and distinct. Miss Kemble had, up to this time, confined her
studies almost exclusively to Italian music, that of Handel was,
therefore, almost strange to her, a circumstance which gives her
an additional claim to praise for the efforts she must have made
to prepare herself for so arduous an undertaking. Success is the
reward of her labour ; and we will hazard the opinion, that this
young lady is destined to become as great in the line she has
chosen, as the elders of her family have proved in the art of
which they have been such distinguished ornaments.

The magnificent chorus, ' When his loud voice in thunder
spoke,' was quite perfect; and highly effective was the selection
from Idomeneo. The solemn march in this produced more
emotion than is usually witnessed at these concerts. Mademoiselle
Grisi, in the pathetic air from Nina, was very charming, but
would have been much more so had she rather restrained her
voice. She forgets, when in the concert-room, that she is not on
the stage, — ^not singing in half the area of the King s theatre, and
her fortes, her strong notes, acquire a hardness approachin|f to
coarseness. Parts of this, however, were exceedinglv touching ;
though as a whole it wanted the tenderness which Mad. Pasta
impart^ to it. But Ma Jl© Grisi's scena from Don Oiovanni was
as near perfection as mortal singers can hope to reach. The just-
ness of her conception, her firmness and energy, surpassed all
whom we have ever heard in this great composition. And we
felt the more indebted to the noble director for his choice of this,
as it is commonly omitted on the stage, the character of Donna
Ehira almost invariably falling into hands incapable of under-
taking music of so high an order. The choruses and quartet
from Beethoven's Mass proved an agreeable novelty here. They
were remarkably well executed. But we must risk the anathemas
of partizans, and confess that we think the Benedictns would have
more voices in its favour were it shortened.

The concerto of Martini, so comparatively quiet and melodious,
produced a most pleasing effect. Wilbye's very clever madrigal
went off in a satisfectory manner. Signor Lablache then
created quite a sensation in an aria from Handel's opera, Orlando.
Though it most likely was altogether new to him, he seemed ta
be quite familiar with the music, and sang it in exactly the sMe
that has been handed down by tradition to English singers. The
trio of Righini is a gentle, elegant composition. We trust that, aa
Lord Burghersh has opened the volumes of this neglected com-
poser, he will indulge us with more of their contents. They are
worth reviving. The three consecutive choruses from Israel in
Egypt, admirably performed, made a grand finish to the concert.

SIXTH CONCERT, Wednesday, May 20th, under the Direction of His Grace thft
Archbishop of York, for the Earl Fortescoe.

Act I.
Selection from the Seaaons ••••'•

Song, Signor Rubini, ' II mio tmoro ' • « •

Chorus, < For uoto us,' (Mfsaiah.) • • • •

^^^ Wr- Tr««««** / ' Blcss'd be the Lord ' '\ /-o.ju-^ \
Song, P"- Kny^«**'V What though I trace ' / (^''»*«»"0 •
Trio, 'FaH'nia thy throne' ....

Cavatina, Signor Rubini, ' O cara imnugine ' (Zaaibcrjfoit) «
Solo^and Chorus, ' Tu 6 ver ' {La atmenza dijito)

Act II.
Overture, (Pioiemy) ,..•••
Song, Miss Kemble, ' O magnify the Lord ' {Chandot JniKm)
Glee, ' Blow, blow, thou winter-wind ' . . • •

«^J;}Mad.MaUbran.{:S-\";|^o^j^.»'} («o«.> G«-,a.)

Motet, ' Glory, praise, and adoration' • . •

Duetto, Mad. Malibran and Mad. Garcia, * Qual i

March for Wind Instruments

Solo and Semi-Chorus, ' Uiillelujah ! Methinlcs I

^ Double Chorus, '< From the censer' {Solomm) • • •

Hatdn.)

HaMDBIw]

MoBattA
Hamabl.

Handbu

MlLLSOO.
MOSART*

MOZABT.

Handrl.
Handel.
Stsvbns. '

ZlNOARXLLI.

MOSART,

Marcbllo.
Haydn.

Crotcs.

KoaARiw
Hamobu]'

THE MUSICAL LIBRARY.

This program almost tempts us to retract what we have before
said concerning the predominance of Handel in the Ancient-
Concert bills of fare: Mozart here nearly equals him: next
season, peradventure^ the modern may be at the head of the poll.
Well ! we are much obliged to the most reverend prelate for a
selection of so liberal a character^ — for so good a concert.

The selection from the Seasons included a considerable portion
of the Spring, and, we need hardly say, the lovely quartet,
' Come, gentle Spring !* as weU as the air, ' With joy the impatient
husbandman/ from- which Rossini so unceremoniously borrowed
his ' Zitti ! Zitti !' formed a very prominent part. The grandeur
of the chorus, * Wonderful Lord !' was well maintained by the best
choral band in England. We rejoiced to hear Miss Postans
rather than a falsetto, in ' O thou that tellest :' her rich contr'
alto voice told well here ; but we recommerid her not to force it
too much in the lower notes. Signer Rubini seems to have
a predilection for the beautiful message-air, as it may be called,
' 11 mio tesoro,' and we beg leave to assure him that he kills it
with kindness ; the meretricious ornaments — Brummagen graces
— ^with which he loads it, (not to mention his alternation from
deafening loudness to inaudible softness,) turn it into complete
burlesque. But — for we will do him justice — the manner in
which he sang 'Cara immagine ' made ample atonement for his
previous escapade : a more passionate, finished performance we
never listened to. The chorus from The Messiah could not have
been better. Nor could Mrs. Knyvett's ' What though I trace,'
had she but sung it a degree faster, and laboured it less. The
trio, which we perceive displeases some contemporary critics, is the
well known tender arietta, * Ho sparso tante lagrime,' arranged for
three voices, and to which Moore wrote some sacred verses. We
will be rash enough to acknowledge that it pleases us, when pro-
perly placed ; for we say of the profoundly scientific, and of the
sublime, what Cowley says of wit, that it is better to be without
it altogether, than to have nothing else. The finale to Tito was
excellent, and Signor Rubini here again much pleased us.

The second act began well with one of Handel's most favourite
overtures. After which Miss Kemble again essayed her powers
in the melodious air from the anthem, ' O come let us sing,' and
only was not quite so successful as before, because there is less
opportunity in this of expressing deep feeling, than in either of the
pieces allotted to her in the former concert. The charming com-
position of Stevens was sung in a manner that reminded us of the
f olden age of glee-singing, when Mrs. Billington, W. Knyvett,
larrison, and Bartleman uiaited their powers. So audible was
the whisper of approbation, that we momentarily expected an
encore as the consequence. Madame Malibran then rose to give
the delicious air, ' Ombra adorata!' and though evidently fatigued
by her previous exertions at the theatre, sang it in a manner
which none but Mad. Pasta only, in her best days, ever surpassed.
Mad. Malibran afterwards took a part in ' Qual anelante,' with her
sister-in-law, Madame Garcia, making the whole room regret
such a union, and the martyrdom of so beautiful a composition.
But the former was herself again in the recitative and air from
Tito. This she really makes ner own. We can conceive nothing
finer than such music, so sung, and so accompanied. The motet
of Mozart was splendid in every way. Haydn's March never
ought to have had a hearing given it in this concert. We can
hardly persuade ourselves that anything so feeble could have
^ escaped from his pen. It is true that the greatest of men nod at
times, but it is unkind to exhibit them when dozing. Dr. Crotch's
j)eautiful and ingenious motet was rather a failure. Mr. Phillips,
-principal base, stood in the orchestra, the four other voices were
placed at the other end of the room, at the back of the royal box,
and the distance, in this case, was fatal to the effect, — the parties,
till near the close, could not be kept together. The experiment is
a dangerous one, nevertheless worth trying. It would be well
to devote a whole morning to the rehearsing of a work that ex-
hibits so lofty an imagination. The grand chorus for two choirs
made us rejoice at having remained to hear so excellent a per-
formance.

PHILHARMONIC SOCIETY.

Terietto, Madlte. O. Orin^ l^gnor Rubini, e Signor Labladiey << Tl parli

I'amore," (Oleiio) 4 • • • « « . Bomm*

Overiun, (mJS.) Joan 0/ Are • • • « • MotoaxuBs*

AOT II.

Siofonia (No. S) . • • • • •7 HAnnr.

Aria, Signor Lablaclie,^Viksbramando,'' (Favf/) • • • Spobb«

Concertante, — Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, and
Doublc-Base, — Messrs. Nicholson, G. Cooke, WiUman, Mack-
intosh, tiarper, and Dragonetti . . Chbtauba NbuxomiC

Aria, Madlle. G. Grisi, " Tauti affetti," (La Dorma del Lago) . Kossnn.

Overture, Der FireitchUfs , . . . .CM. TOR Wbbvl

Leader, Mr. Mori. — Conductor, Mr. Moscsbles*

This proved on the whole an excellent concert. The symphony
of Beethoven was executed d merveille, the slow movement obtain-
ing a loud encore. The eighth grand symphony of Haydn, for
many years performed almost to satiety, then, as a consequence,
nearly shelved, now came out fresh, and delighted the audience.
It is, indeed, a striking proof, among many others, of the richness
of the composer's imagination, and of his vast resources. Mos-
cheles' overture to Joan of Arc is a work that will carry his name
down to posterity. It is meant to describe — we hardly need say
in a very general manner — the principal events in the life of ihe
Maid of Orleans ; and with this key to the author's intentions,
which ought to have been given in the' program, the hearer will
find that the music raises corresponding images in his mind, and
is, therefore, in the received sense of the word, imitative; or
suggestive, a better term, employed by Twining in his Commen-
taries on the poetic of Aristotle. The whole composition bears the
impress of genius ; it seems to have been struck oflF at a heat, and
does not smell of the lamp. It has no appearance of labour, but,
like Mendelssohn's two overtures, is a pure product of the fancy,
and never could have been the result of mere study, or what isr
called musical learning. The Freischutz overture went off as usuaL
Whoever wishes to hear this extraordinary work in perfection
should hear it executed by the Philharmonic band. Neiikomm's
airy Concertante pleases all who are not tied and bound by pre-^
judice to one school. Nothing could be more true, more correct
in every way, than Mr. Neate's performance of Hummel' s Con-
certo, a work of extraordinary merit, uniting all that should be
combined in such a composition — beauty and clearness of melody,
richness of harmony, and masterly instrumentation. A total
absence of everything in the shape of pedantry or quackery is also
another characteristic of this, the author's most valuable pro*
duction.

Of Signor Rubini's ' Cara Immagine ' we have already spoken*
The terzetto admitted of no improvement. Here we had the
dramatic music of Italy assigned to Italian stage performers, and
the result was such as might have been anticipated. Nor could
anything be finer, in its way, than Lablache in the aria from FausL
He certainly does not look a Mephistopheles, but in every other
respect is perfect in this most characteristic composition, and met
with a hearty encore. Mademoiselle Grisi sang ' Tanti affetti *
divinely. To the exquisite neatness of a Sontag, she adds all the
feeling, the animation^ that her charming predecessor wanted.

; FIFTH CONCERT, MONDAY, APRIL 27.

Act L

^ffiofimia in B flti • • • •

Aria, Signor Rubini, '< O can immagine,** {Dk Zamberjhle)
CoBC^rtOi Pinaolipite, in A minor, Mr. Neafte •

BXSTHOTKN.
MOZAJIT.
BUIIMBL.

SIXTH CONCERT, MONDAY, MAY 11.

AoT I.

Sinfonia Pastorale . • • . • • BiirHOTUTt

Redt. ed Aria, Signor Tamburini, ' Vedro, mentre 10 sospiro,* (Le

Noxze di Figaro) . . • • • Mo»a.iit. *

Concerto, in a fiat, Piano-foiie, Mr. W. Bennett • • Bbnmbtt.] .

Duetto, Madiiroe Findduhr and Signor Tamboiini, * Quel Sepol-

chro,* {Agnete) • • • • • Pabr.

Orerlure, (Anacrton) ••*••• CHSBuancc*

Act II.
Siufonia in g minor . . • • • Mgeart**] ^

Scena, Madame Stockhausen, * Si, lo aento,' (Faust) • • Spohb.

Quartette (No. 1) Two VioUna, Viola, and Violoncello, Mesara.
EliaKon, Watta, Moralt, and Lindlej (never perfitrmed ai M«te
QmcfrU) ....•• BasTHOTBN*

Aria, Madame Fincklohr, ' Bell' raggio,'. (Semiramide) • Roaamx.'

Overture^ Julniet, . • • • .CM. Von Wsbxr.

Leader, Mr. F. Cb&mbiu— Conductor, Sir Ononoi Skabt.

The pastoral symphony was most ably executed, though we
thought the second allegro, the dance, too slow. The attention
with which the whole was receiyed, long as it is, is undeniable
evidence of the highly-cultivated musical taste of this audience.
We were much pleased to find a poetical description of this worl^
selected firomjThomson's Seasons, printed w^ith the words of the
vocal music. For the benefit of our readers, and indeed to circu-
late widely so apt an illustration, we here insert it.

THE MUSICAL UBRARY.

THB LANDSCAPE.

Attegro. See the country far diffused around
One boundless blush, one white empurpled shower
Of mingled blossoms, where the raptured eye
Hurries from joy to joy.

THE RIYULET.

Andante. And, pensive, listen to the various voice
Of rural peace : the herds, the flocks, the birds,
The hollow-whispering breeze, the plaint of rills*

THB VILLAGE DANCE.

Attegro. Rustic mirth goes round — to notes
Of native music, the respondent dance.

THE STORH.

'Tis listening fear, and dumb amazement all !
At first, heard solemn o*er the verge of heaven,
The tempest growls.

THE shepherd's SONG.

-Thro' the lightened air

A higher lustre and a clearer calm

Diffusive tremble : and nature smiles revived :

Tis beauty all, and grateful song around.

The symphony of Mozart, and the overture to Anacreon, left
nothing to be said but in their praise. The Jubilee overture, as
a piece de circonstance, has considerable merit, and certainly
makes a good rattling finale. Should not this have been reserved
for the concert nearest to the King's birthday ? — the national an-
them which forms part of it, seems to indicate the appropriate
time for its performance.

The concerto by Bennett, is that which this very rising young
man — a youth, indeed — produced last year at one of the Academy
concerts. We then mentioned it in terms which it deserved, and
now, on a second hearing, with all the advantages of such a bsuid,
discover new beauties in it, and further claims to approbation.
His own performance of this was as correct and neat as could be
wished ; but the power of executing is so subordinate to the talent
for creating, that it must only be mentioned as a mere auxiliary.
It was very flattering to so young a musician to be placed in so
honourable a situation, in a concert that cannot find room for
Iialf of those who are entitled to become candidates for a debut,
and the directors are entitled to the praise of discrunination for
the selection they made.

The quartet of Beethoven, it is stated, had ^ never before been
performed at these concerts.' An immense majority of the au-
dience wished that its production here had been further delayed.
We are not willing to condemn any work of Beethoven on a first
hearing, but shall be agreeably surprised if a second, or even a
third, should at all change our opinion on the subject of this com-
position, which appears to us to consist chiefly of musical per-
versities and unproductive labour.

Siraor Tamburini, in the admirable scena fi*om Figaro, was
exceflent, and made us wish that he might have an opportunity
afforded him of going through the whole part of U Conte in that
great opera. But it was to make him suffer a kind of martyrdom
to give him such a companion in a duet from which, with a singer
at all equal to himself, he might have reaped so much applause.
This remark will render it unnecessary to make any observation
on Rossini's fine aria, from Semiramide, We will not, however,
conclude without paying the tribute due to Madame Stockhausen,
for her performance of the masterly scena firom Spohr*s Faust,
which indeed has before drawn forth our willing praise, and the
plaudits of all her auditors.

BENEFIT CONCERTS.

Mr. Yauohan's, King's Concert Rooms, Hanover Square,
Wednesday morning, April 29th.

Mr. Vauehan produced a composition of Romberg, 7%e Tfrni"
stent f and The Eternal, a sacred Ode, of considerable merit He
collected a very powerful vocal party, among whom were Mes-
dames Stockhausen, Knyvett, Caradori, and Bishop, Miss Novello,
Messrs. Braham, Bellamy, Phillips, Parry» jun.^ Machin, &c.
Mr. £. Schulz played Hummel's Retour a Londres ; and Nichol-
son accompanied, in a most brilliant manner, Mrs. Bishop, in a
8ong by Mr. Bishop.

Mr. MoscHELEs*, Concert Room, King's Theatre,
Friday Morning, May 1st.

This commenced with Mr. Moscheles' new overture to Schil-
ler's tragedy, Joan of Arc, of which we have spoken in our
account of the fifth Philharmonic Concert Mr. Moscheles per*
formed the first movement of a MS. Concerto Path^tique, fol-
lowed by a Rondo Brilliant, both with full orchestral accom-
paniments: the former addressed to the cognoscenti, who ac-
knowledged its merit m their willing applause ; the latter was
meant to please those who delight only in quick, gay, sparkling
music, and completely succeeded. Mr. M. also gratified the real
connoisseurs by playing Beethoven's Concertante, accompanied by
Messrs. Mori and Linmey : so great a treat thev rarely enjoy. We
did not remain to hear his improvisation, not having much relish
for extemporaneous performances. The rest of the concert was
vocal, in which Madlle. Grisi, Mad. Caradori, Miss Masson, Miss
C. Novello, Messrs. Rubini, Parry, Lablache, Machin, &c.
assisted. The room was remarkably well filled.

Mr. Sale's, King's Concert-Rooms, Hanover-Square, Friday
Morning, May 8th.

Honoured by the presence of the Duchess of Kent, and our
future Queen, and aided by nearly all the musical talent that Lon-
don in its busy season can supply, Mr. Sale invariably fills his
room to such a degree, that those who cannot afford time to secure
a place long before the performance begins, have no chance of
getting beyond the door-ways. This was our predicament on the
present occasion. We procured, by favour, a bill of the concert^
and found an excellent selection, though we were doomed to hear
but little of it, standing in the small ante-room. We heard
Madlle. G. Grisi sing; some mdifferent music in a manner worthy
of better subjects, and Mr. Braham, in Beethoven's Cantata, ' NeJ ,
giardino,' which he gave throughout in a subdued tone, and with
exquisite feeling. We were also enabled to enjoy Mrs. Anderson's
performance of the Romance and Rondo from Hummel's Concerto
in A flat. The rest we lost, and are told that our loss was
great.

Mr. Cramer's, King's Concert Room, Hanover Square, Tuesday
Morning, May 1 9th.

This, alas ! was Mr. Cramer's ' laet Perfomance in Public,* and

as everything connected with so distinguished an artist is not only

a matter of present interest, but will be interesting hereafter, when

he is become, what he is surely destined to be, a musical classic,

we depart from our usual practice, as regards single concerts, and

give his program at length.

Act I.

Grand Overture, (Pidelio) • . • « Bbbthovbk-

Aria from the MS. Opera of Or/eo, Mr. Parry, jun. • Hatdn.

Scena, Mivs Masson, ' Amici, oh Dio ! * . • . Stunts.

Concerto, Pianoforte, Op. 16, (by particular desire) J. B. Cramer J. B. Geaioes.- _

Aria, Madame Garcia, * Non pia mesta/ • • . Rossini,

New Ballad, Mr. J. P. Knight (his first appeazance), ' She wore a

wreath of roies.' . • . • Knight.*

Aria, Miss Clara Novello, with Clarionet Obligato, Mr. WiUman,

(La Ctemenxa di TUo) « • . • Mosabt.

Aria, Madame Stockhausen, (Robert /« Diable) • MsYBRBBiB.

Notturno, Madame Malibran and Madame Garda, < D^jll la nuit

•ombre.'
A selection of New Studies, by J. B. Cramer, performed by the Author.

Act II.

New Overture (MS.) • • • • ScHLBsiNaxx;'

Cavatina, Madame Malibran (by particular desire), ' Tluongh the

wood ;* accompanied by herself on the Pianoforte . Hoair.

Song, Mr. Phillips, ' The Return of the Admiral.* . , Phillips.

Song, Mrs. Knyvett, < From mighty kin^.* (JwUu Maocabeya) HAxmL.

Quintetto for Pianoforte, Hautboy, Clarionet, Bassoon, and Como,

by Messrs. J. B. Cramer, G. Cooke, Willman, Baumaan, and

Piatt . . • • • MosAST.

Doet, Miss Masson and Mr. Parry, jun., ' Dearest, let thy footsteps

follow.' • . . • . Spohs.

Rampataplan, Madame Garcia, < Le petit Tambour ;' composed by Mad. MALnsair.
Finale (Jphiffema) • • • • • Glucx,

The above well-chosen concerto is the original and beautiful
composition in D minor, the first movement breathing a strain of
the ' divinest melancholy,' with which the feelings of most who
were assembled on this occasion were in perfect unison. The
second movement, a lovely Andante Caniahile in f major, is a
gentle relief to what precedes and follows it The last returns to
the minor key, to that sweet sadness so pleasing to persons of

XHB MXXSICAL UBRAK7.

strong BG&tibOity, and in wbacb, according to Ae best philo-
sophers and poets, consists the greatest charm of music.

Mr. Cramer then performed several of his new studies^ some
of which are exceedingly ingenious and beautiful, a few very
difficult, and all of the higher order of musical composition. The
moment now arrived for taking leave. To the public this grace-
ful musician was first introduced in a work of Mozart, and he
lade them farewell in a composition by the same. The quintet
in E flat needs no eulogy : we never heard it so played, and most
probably shall never again hear so perfect a performance.
Vl^hen he who took the principal part in this rose, amidst the
loudest and warmest cheerings, to make his last bow, we saw
many lovely eyes filled with tears ; and some of the sterner sex
exhibited emotions no less honourable to themselves than to the
occasion by which they were excited,

Mr. Cramer retires from England at the close of this season,
and takes up his residence in Munich. With him we lose the
'finest model of pianoforte playing that ever existed. While too
many seek to astonish by fours de force, by feats which a self-
acting instrument, a piece of mechanism, can perform much
better, he addresses himself to both heart and understanding,
and by a union of science, of the most refined taste, and of ex-
quisite feeling, enables music, — an inarticulate language, — to
ctiscourse so ^quently, that all who have an ear for modulated
sounds, and are endowed with even a moderate share of excita-
bility, confess the greatness of its influence.

Unhappily, a style such as Mr. Cramer's, which is all beauty
and sentiment, and such a touch as he possesses, which is unique,
cannot be expressed in notes or explained in words, they can
only be learnt from himself : we fear, therefore, that with him
we also lose his art ; for the young performers of the present day,
too often wanting soul, find it much easier to acquire execution
than taste and expression, and willingly relinquish all attempts
at the latter, trusting for success to a rapidity of finger, and to
the ignorance of the majority of those whom it is their interest to
please.

Mrs. Anderson's, King's Concert Room, Hanover Square,
Friday Morning, May 22nd.

. From precisely the same causes that prevented our getting into
the room at Mr. Sale's concert, namely, the presence of the
Duchess of Kent and the Princess Victoria, and a crowd which
occupied every seat and corner at an early hour, we could gain
no admittance on the present occasion ; though, as before, we
were enabled to stand in the adjoining chamber. But now so
dense was the population in the door-ways, that they prevented
all sound from penetrating beyond them. We, therefore, can
only state that the excellent pianiste (to whom it must have been
really a benefit) had Madlle. Grisi, Mesdames Malibran and
Stockbausen, Miss Masson, Miss C. Novello, Signor Rubini and
Mr. Parry, as vocalists, with Madame Filopowicz, Mr. Nicholson,
and Mr. Blagrove, as instrumentalists, to assist her; and that
all with whom we subsequently conversed seemed much pleased
with the whole performance.

FOREIGN MUSICAL REPORT.

BERLIN.

But few events of musical interest took place during the earlier part
•f February. Nothing was going on at the Opera, the KOnigstadt
Theatre, or the Concert-hall. At the Quartet-hall we had Ries' second
soiree. A quartet composed by Ferdinand Ries deserved all the atten-
tion, and more than the applause, which it received ; however, its merits
will be appreciated when it becomes better known. It was followed by
one of Spohr's earlier quartets, and the whole concluded with that of
Beethoven, in e major. No. 10.

M. Moser, on the 11th of February, opened his second series of
aoiries with Mozart's sympliony in o minor, and two overtures ; one,
that to Der fFassertrdger (the Water-carrier), and the other, Beetho-
ven's, in G minor. Never was an evening more delightfully occupied.

One of the most interesting occurrences of late was the performance
of Sebastian Bach's mass in b minor. Although the execution left us
much to desire, the attempt was so great and meritorious, that even %
partial fulfilment deserved approbation.

A new overture by M. Bohmer, composed for a drama of M. Smidt,
eaUed Die Zauberruihe (the Magic Rod), was played at one of Muser's
loir^* Much diligence has evidently been exerted in the production

of this work, and the conception is goc»d ; yet we are compelled to say*
that it was heard to some disadvantage, after the performance of one of
Haydn's symphonies.

On the 1 9 th of March, an event, like a death, happened in the musical
world; we mean, Ries' quartet players assembled for the last timet
though, like swans, the soirees expired musically. Besides Mozart's
quartet in o major, and Beethoven's in b minor, we had one by
Onslow, his newest, whbh is dedicated to tlie Brothers Muller. To
speak the truth, this work is not altogether worthy of its composer : the
performance of it was good, though it might have been better. We
look forward to a joyful resuscitation of these soirees next winter, and
sincerely hope that a portion of the summer may be devoted to the
studying of Riea' quartet, that it may shine with greater lustre than ia
February last.

M. Mdser, a short time before the close of his soircSes, substituted
quintets for quartets: one of Onslow's was played in masterly style by
MM. Zimmennann, Ronneburger, Lenss, Ganz, and Kelz. At the
last soirde but one were played a symphony by Herrmann Schmidt^
Gluck's overture to Iphigmia^ and Beethoven's symphony in p major ;
and at the last of all (which took pUce about the middle of March) we
heard Spohr's overture to Faustj Beethoven's symphony in a majory
and Haydn's in e major.

Some Interest was excited by a concert at which several youngf
performers made their debut This was young Henning's concert,
nephew of the concert-mtister Henning, who, though but fourteen
years of age, showed himself a violinist of a very superior order. Young
Bimbach also made liis appearance. We were much pleased by a
youthful pianist, Mile. Wolffhardt, a pupil of M. L. Berger, who played
with great feeling. One of Mendelssohn's older symphonies, and a
new overture in the Turkish style, by M. Henning, sen., were heard
at this concert with considerable interest.

We now come to oar theatrical intelligence. A base singer front
Mannheim, M. Versing, has appeared at the Theatre Royal, as the
patriarch, in Mehul's Jo9eph in Egypt ; liis vokse and acting are tolerably
good, but neither worthy of distinction. At the same theatre we have also
had Dtr Freischutz^ Robert U Diable, and three entirely new operas, to
amuse us, while All Baba, by Cherubini, was studying, which^aftttr maay
delays and mach expectation, actually made its appearance at the
beginning of March, as well as Donizetti's new opera of Fausta. The
first, consklered in a musical point of view, is a work in which the
experience of age is happily combined with the vigour of youth. The
ibretto is too long, though not without merit. On the whole, the
opera met with decided, though perhaps not brilliant, success. As to
Fautta, it is a trifling work of the modem Italian school, of which
neither music nor poetry are deserving of criticism.

Mile. Heinefetter has been starring it in the parts of Borneo and
DesdemonOf and received adequate (that is to say, moderate) applause*
There are many brilliant points about this lady ; but, at the same time,
much that is in bad taste.

The sopranlst, Tombolini, one of the greatest singers of his day^
died not long ago in this city. He had altogether outlived his fame;
and when the news of his death spread abroad, people were astonished
to find he had ever lived. In the golden age of the Italian opera, ia
the time of Frederick II., he was brought from Italy to Berlin, and waa
the darling both of the court and the public* He has left behind him
an honest name.

VIENNA,

On the 15th of February, M. Leitermayer, a friend of Schubert, gave
an Accademia in the Musical Union-hall, to the memory of that lately
deceased musician. Schubert's compositions alone were played, and this
waa right enough; but we did not approve the alterations in the shape
of accompaniments, and so forth ; we thought them an injustice to the
composer. The hall was crowded, and Schubert's animated songs pro*
duced their uaual great effect.

At the last Christmas festival was performed a solemn mass in n, the
first religious work of a young musician, named Lorenz Weiss. This
is decid^ly of a higher order than most maiden compositions ; the
vocal part is fine and flowing, in the manner of Haydn, who, indeed,
ought to be the prototype for every one ; a pious and animated spirit is
breathed in simple, yet dignified tones, in clear and unadorned melody ;
the instrumental accompaniment preserves its proper place, never
drowning the voices ; the wind instruments are but seldom heard, yet^
on that very account, they produce a fine effect ; and an excellent dis-
cipline is apparent throughout. We also heard an exquisitely tender
sentence by Carl Ezemey, Domine Deua^ salutu mete, and the Tantum
ergo of M. Hieron Payr, who is sufficiently known by the talents he
displays on the organ. To M. Franz Gluggl, the director of the music
at tlie Pavlanerkircke (where this mass was performed), the highest,
acknowledgment is due : while he delights with the work of a young
and hopeful composer, he reminds us of the enjoyment he has afforded
by the successful production of the church compositions of Cherubini^
Mozart, Havdn, Beethoven, Seyfried, &c., and of tlie festival in cele-
bration of the hundredth anniversary of Haydn's birthday, which will
never be forgotten by those who heard it.

THE MUSICAL LIBRARY.

S»

Hie greftk annual Huucal Acoademi» iofik plaoa in the Redouten^
Saai, u>f the benefit of St Marxer's Hospital It is always well
attended^ and was so on this occasion; in fact, charity is the chief
attraction^ to which musical gratification is but subordinate. Among
the distinguished pieces were, a Tema from Mozart^ with variations^
played by M. Ton Mayer, with his usual skill and animation ; a Duet
from DonizettTt Fausta^ sung by M. Wild and Mile. Heinefetter,
which was most admirable, if we regard the merits of the vocalists, but
commonplace in the extreme, if we consider those of the composer ;
an Aria from BeUinCn Pirata, sung by M. Standigl ; and a Potpourri^
which we may actually say was mng on the clarionet by M, Klein.

On the 22nd of February, M. Khayll gave a concert in the Union's
Hall. This gentleman on the flute, M. Friedlovsky on the clarionet,
M. Proch, on the violin, and MM. Ereipl and Mellinger in their vocal
performances, distinguished themselves greatly.

DRESDEN.

M. Cipriano Romberg, son of Andreas, and pupil of Bemhard Romberg,
gave his second soir^ on the 2ist of February, after having been heard
m the theatre with the greatest applause. His playing is in the incom-

J arable style of his uncle ; and his bowing, the management of his left
and, and all that relates to the mechanical part of his art, is altogether
without fault ; indeed, we have no doubt that, with a little study, he will
ahine in the highest rank of violoncellists, especially as he displays a
£ne talent for composition.

Turandol, as rendered by Schiller from Gozzi, has been lately set to
music by M. Reissiger, and performed with great applause.

FRANKFORT.

Peer's old opera, Achillea was revived here on the 4th of January.
What moved the manager of the Stadt Theater to this step it is hard
to determine, as he has by no means a company fitted to perform it with
success. Mile. Kratky, from Prague, made her d^but here as JRomeo,
ia Bellini's Moniecchi e Ca/puleti^ on the 4th of February.

KONIGSBERG.

0«r excellent musical-director, Sttmann, assisted by a committee, ia as
busy as possible in the preparation of a festival, which bears the name of
** The great East-Prussian Musical Festival," and to which not only the
Mends of music in our own city, but also those of the whole province,
are invited. On the first day (the 10th of June) we are to have
Handel's SamMm^ in the Cathedral; on the second, an instrumental
concert in the theatre, consisting of symphonies from BeethovMi,
Mozart, &c., interspersed with several solos ; and on the third (June
the 12th), a vocal concert. Each day a fresh director is to conduct the
music. Though there is a general endeavour to ensure the greatest
auecess to the forthcoming festival, we have observed with regret a
mean vanity and envy here and there, which seem to militate against
this praiseworthy attempt.

RUDOLSTADT.

In addition to the ordinary court and city concerts, we had, thia year,
two extra concerts given by foreign musicians. The first by MM. Kum-
mer (the royal Saxon Kammermusiker) and Schubert, from Dresden ;
the first a violoncellist, the other a violinist M. Kummer chiefly dis-
tinguished himself by the power he seemed to exercise over the minds
of his audience ; and M. Schubert by the great facility with which he
executed the most difficult passages. The whole concluded with a duet
by these gentlemen, unaccompanied by the orchestra. They met with
admiration when heard singly, but at the performance of this piece every
one was thunderstruck. It seemed as if but one spirit animated botn
players; the harmony was so exact, that the audience were almost
tempted to believe that there was but one instrument — but one performer.
The other concert (which took place on the 13th of January) was
given by the pianist, M. Max Carl Eberwein, son of the celebrated
musical director. He played Hummel's concerto in a minor, and
showed that he entered thoroughly into the spirit of the composer; and
in his performance of the variations by Herz on the Tema, Ma
Fanchette est Charmante^ he displayed all the talents of a first-rate
artiste. The most difficult passages were executed with the greatest ease.

MAGDEBURG.

The concerts of our musical societies are now at an end. We have had
a repetition of Beethoven*s symphonies in b and i> major, and also his
symphony in a major ; twice we have had Onslow's second symphony,
the minuet of which gave us great pleasure; twice Mendelssohn's
overture to the Midsummer NighCs Dream; then Beethoven's grand
overture to Leonore^ a Festival Overture by Mttrschner ; the overtures to
Lodoiska, Fanisha, and Cherubini*s AU JBaba^ with several otlieis by
Lindpaintner. The execution of these great instrumental compositions
could not be called successful, as, indeed, was hardly to be expected
from a first attempt ; but the performance of all (except only the Mid"
summer Night's Dream} was praiseworthy, Of the coDcertoe, the
most worthy of remark, both for composition and execution, were those
of Romberg, for the violoncello, played by M. Cifnao Ronbeigi

Heinemeiei^s variations on An Alesis^^ played by M. Reinisch ; and
the adagio and rondo from HummePs grand concerto in b minor,
played by M. Ehrlich.

At a concert for a charitable purpose, the Vocal Union sang Rom-
berg's favourite music to Schiller's Bell.

STUTT6ARD.

Donizetti's Anna Bolena has been performed here, and Mile. Carl
acquired fresh laurels in the principal character. She was called for
tumultuously, an event which seldom happens in this part of the world,

PRAGUE.
Herold's Challenge was produced here, for the benefit of Mile. Nannetta
Kratky, and met with but indifferent success. Norma, by Bellini, hat
also been performed, and met with applause.

AMSTERDAM.

At the national theatre, M. Aloys Schmitf s opwa^ Valeria, has been
acted ten nights in succession to crowded houses.

MENTZ.

Mile. Heinefetter has, by her performances for the benefit of various
charities, enriched them to the amount of 2000 florins ; and by her
general deportment, as well on the stage as in social life, has become a
great favourite with her fellow-citizens. A young artist, Rosa Achen*
bach, is to paint her in the costume of Semiramis^ and the picture is to
be preserved in the Library, or by the Artisft^ Union.

Only two strangers were heard at our winter concerts; one, M:
Rosner, who has deserved and met the most distinguished applause ; the
other, Mile. Carl, a songstress who shines rather in the concert-room
than on the stage.

VENICE.

A very interesting concert took place here, in the newly decorated
rooms of the Apollonic Society. The vocalists, Mile. Taccani and MM.
Balfe and Tatti, and the instrumentalists, Salieri and Fanna, displayed
their united talents.

BRESLAW,

On the 17th of February, the Royal Institution for Church Music per*
formed a variety of sacred, vocal, and organ-pieces in the music-hall
of the University. The vocal parts were executed under the conduct of
M. Mosewius, by a chorus 200 strong ; the organ-pieces by some
pupils of M. Wolf. A numerous audience honoured the performera
by their presence, and heard them with the greatest attention.

Mozart's Don Juan was, on the 24th of February, acted at the
theatre, at which three debutantes appeared: Mile. Kohlmetz, from
Berlin, as DonTta Anna ; Mile. Schechner as Elvira^ and M. Thamm as
Don Oltavio. They all three met with applause, but Mile. Kohlmeta
is far superior to the other two.

NAPLES.

Mad. Mallbran, who took the chief character in Persiani's new opera,
Inex de Castro, actually excelled herself. Never did singer in this place
excite such an effect. The music, altogether, was pretty successful.

Rossi's new opera, Ameha, originally composed for the second
Teatro Fondo, and a comic opera at the Teatro San Carlo, in spite of
Malibran's singing, met with no success.

PALERMO.

The base-singer, Barroilhet, sang at the Teatro CaroUnOt in DoBizetti'a
Torquato Tasso, and met with wonderful applau

HANOVER.

The Prussian violoncellist, Griebel, has been heard on our stage, and
is a performer of promise.

Five Hungarian singers have appeared here, who imitated with their
voices different musical instruments. Their skill was surprising, but did
not suit the public taste, consequently the performers were about as
numerous as the audience.

Molique is enchanting the Hanoverians by his perforaiaDces on the
violin.

PARIS.

I Puritani di Scozia^ a new opera, by Bellini (founded on (Ud Mon»
talUy)* has been acted here, at the Italian Theatre, and met with the
greatest success. The public were enchanted: Grisi, Rubini, Tarn*
burini, Lablache, and Bellini himself, were called for. The composer
has certainly preserved his reputation ; nor must we omit to mention
that, on account of the success of this new opera, the king baa made
him a Knight of the Legion of Honour.
Mad. Raimbaux, who, in Italy, two years ago, sung with Lablache»

« TUs air win ba fimnd in tBs first
Iiteal|i^M^with" -

ef the vocal pait eC.the MnsMsl

THE MUSICAL LIBRARY.

b the ProfM iun opera nria^ has appeared at the Opera-hoase in the
tame piece.

On the 7th of Febroary Webei'e oTerture to Oheron^ and Aubei's
overture to GuUamu^ were performed at a grand concert

A great impression has been made by Halevy's new opera, LaJuive.
Mile. Falcon, in Rachel^ is admirable, whether considered as singer or
actress. Nourrit as Eleazar^ and Levasseur as Cardinal dt Brogni^
were alike successful. A grand aria, which Mile. Dours, as Eudoxia^
sings in the third act, does equal honour to composer and vocalist.
Among the choruses, that which opens the fifth act is the most dis-
tmgulriied. In the first act there is a waltz for Taglioni, with very
pretty music ; and in the thh'd a beautiful pas dt cinq. The expense of
the costume must have been great indeed.

Marino Faliero^ by Donizetti, has also [met with great applause,—
perhaps more than it deserves.

THE DRAMA.

Kino's Theatre.

This theatre cannot be said to have commenced operations till after the
arrival of the company from Paris : till they came, all was makt-hdieoe^
and downright imposition on those who, not knowing how to dispose of
their surplus wealth, subscribed at the rate of a guinea a seat per night
for what was misnamed an opera.

On Tuesday, April 28th, Mad. Fincklor, who, but for illness, was to
have been the pnma donna during the first part of the season, made
her appeanmce m the character of Semiramide. Her voice is extensive
but rough, snd she attempts to do much, failing often in what she
attempts. Her person is m her £svour, and her action good; but it
aeems unlikely that she should ever be equal to the first parts in any
great theatre.

On the Thursday following, Don Giovanni was performed, Madame
FiNCKLOR as Zerlina, a part which we recommend her never again to
assume. Madlle. G. Gaisi's Donna Anna was excellent, and Tam-
BURiNi made the best Don Giovanni that has appeared since the inimi«
table Ambrogetti. As singers, we need not say, there is no point of
comparison between the two. Lablache's Lepordlo is, in everyUiing,
save figure, the most perfect we have ever seen. But much of the
music was marred by the rapid time in which it was performed. It is
to be presumed that Signer Costa is responsible for this : he had better
trust to the superior judgment of the leader, Mori, whenever Mozart is
eoncemed. We beg to ask why the masquerade scene was so muti-
lated ? Why were we deprived of the two bands on the staffe, a
striking feature, musically considered, in the opera ? On the whole,
then, we must say that it would be far more desirable to suffer the operas
of this composer to remain quietly in the library, than to bring them
forward in a manner not in every way calculated to maintain his repu-
tation.

For the benefit of Signor Lablache, on Thursday, May 14th, an
cpera mriat in three acts, altered by Signor Bibera, from Casimir
Delavionb's alteration of Lord Byron's Tragedy, and composed by
DoMiZBTn, was produced. Its title is Marino Fioj/ier©— thus much,
therefore, of the noble poet's work remains intact The following are
the characters :— ^ IN

Marine FaHero, the Dogs •

Itraei BtHucci^ C|iief of the Anenal ^ «
Fermmdo, Nephow to the Doge
Scmo, a young Patrician, one of the Forty X
^ OondcHer • • •

JK/eiMyWiboftheDoge • •

ffignor Lablaohi.'
Signor TAXMVRmu'[
Signor Rubini.
Signor GiuBiLBi. '
Signor Itamofv.
Signora Oaiei.

The story, as dramatised by byton, is from the Venetian history, and
to be reckoned among the romances of real life : it is ludicrous m its
origin, serious in its progress, and tragic in its termination.

Marino Falierot an elderly gentleman, takes a frncy into his head
that a young wife would prove agreeable. He marries accordingly, and, as
might have been expected, many jokes are circulated on the occasion.
But the old Doge is testy as well as amorous, and seto about punishing
a young patrician, SUno^ for lampooning him. The senate of Venice,
however, refuse to condemn one of their own order to death for having
too lively and pungent a wit. The old gentleman then becomes furious,
and resolves to avenge himself by cutting off, to a man, the for^
senators. The plot is discovered, the Doge is seized, together with his
confederates, uid all are duly executed. But in an opera it is necessary
to inluse a little love ; accordingly, the Italian adaptor follows the
French version, and inspires the Doge's lady> Elena, with a very de-

cided passion for Fernando^ her husband's nephew. The latter, ui
vindication of the lady's honour, which has been assailed by reports of the
liaison^ propagated by Steno^ challenges him, and is slain. But now
comes a most uncalled-for and cruel piece of candour. The moment
before Faliero is led to execution, while he may be said to be tn arti*
culo mortis, his wife confesses to him that his brows have been decorated
by something more than the ducal crown ; in short, forces on the dying
man a knowledge of her intimacy with Fernando. He rages,— forgives,
— ^is executed ; — Elena shrieks and faints, — and the drama ends.

The music of this is altogether in the modem Italian style. With a
few exceptions, and but few, it is of the most commonplace kind, is
therefore easily understood by the habitues of the Opera, and, as a moral
consequence, is applauded, because it flatters their vanity. There are,
nevertheless, some exceptions, and among these, two choruses, which,
had justice been done them by the performers, would have produced a
powerful effect But the idea of both may be traced to Meyerbeer's
Crodato in Egitto. An air and a duet have great merit These will be
mentioned in our review department.

The performance of the principals, namely, Madlle. Grisi, Signori
Lablache and Tamdurini, is entitled to every praise. So far as actinp^
is concerned, we willingly add to these Signor Kubini, and also admit
that he sanff, as well as acted, with passion : but such an eternal suc-
cession of nourishes, so much of the falsetto, a distressing tremor on
eytrr holding note, and a continual alternation of bursts and whispers,
are directly opposed to everything which, in our mind, constitutes good
singing. But he is the fashion.

This opera did not produce & furore; and on the follovring Thursday,
being Madlle. G. Gaisi's benefit, was succeeded by I Puritan^ com-
posed by Bbllini, of which we shall give an account in our next

Coybnt-Qardbm Theatrb.

Mr. Bunn, having, at his imperial will and pleasure, shut up the two
national theatres many weeks before the accustomed time, opened one
of them again, with a foreign singer, and a foreign opera, on Mon«
day. May the 18th, when La Sonnambulaj composed by Bellinf, was
performed. Even the Italian name was preserved, as if to show how
de*nationalized our national stage had become. Madame Malibran was
the heroine, — ^it is unnecessary to mention the subordinates ; — she, in the
double capacity of singer and actress, sustained the whole weight of the
opera, and bore it well. With her rich, powerful, and extensive voice,
combined with so great a knowledge of her art, she fulfilled all reason*
able expectations: her singing was as a whole, charming, and her acting
often affecting. But it is downright extravagance to assert that the one
is perfection, and the other faultless. Mad. Malibran's defects as a
singer are, a redundancy of ornament, an ostentatious display of her
capability at the expense of the music, (not that this signifies much in tJie
case of such compositions as most of Bellini's,) a capriciousness, and a
propensity to force a shake, a very rude one, in the lower part of her
Toice. As an actress she is far from uniformly true to nature, and
seems to be governed by no rules of art She, however, trusts to the
dktates of her own feelings, and those often direct her right Some-
times, however, they lead her into absurdities, for her judgment is not
strong, though she is thoroughly persuaded of its infallibility.

English Opera-Housb.

At the English Opera-House, Bellini's Italian Opera has been
brought out, under the title of The Female Sleep^fFalker, a name as
clumsy as the other is out of character in any but an Italian theatre.
Why not Somnambulist, seeing that the word Somnambulism is now
adopted in our language ? Miss Homer is a clever performer, and ffoes
through the part, both as regards singing and acting, very respectably,
but excels most in the latter. Indeed, after having heard the same
music sung, during the last year or two, by the first vocalists in Europe,
that young lady necessarily appears under some disadvantage, notwith-
standing her allowed merit She is not very ably supported on the
stage : in bet, neither here nor at Covent-Gsrden can the heroine boast
of receiying much aid horn her theatrical lover. The want of good
English tenors is much felt in our theatres. This is the true reason why
composers write so much for a base voice : they have a Phillips.

TO RKADSR8 AND C0RRBSF0NDSMT8.

Teb English Open coifsfpondsnce, with pfsUminaiy ramaiki, in oar nsiftt
«* Our Musical Rariew^ though in type, if alto reluctantly poitpoosd. J

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET.

Panmm ar Wt CLOWES and SONS, Dvu SraaBT, Lakbxtb.

MUSICAL. LIBRARY.

No. XVI. JULY, 1835. Price Sixpence.

Th« Music of Pari XVi; ef

English Composere v. English Opera House 63

Music as au Amusement to the Lower Orders 65

Ancient Concerts •..•••.. 66

CONTENTS.

Pace

Philharmonic Society 67

Royal Academy of Music 68

Benefit Concerts 68

Mr. Taylor's Lectures on English Vocal Harmony 68

Review • . • • 6?

Foreign Musical Report 71

Drama 72

THE MUSIC OF PART XVI.

composed by

Slow March — (Page 89),

ARMAND LOUIS COUPERIN.

The family of Couperin has, during more than two centuries, been
distinguished for musical talent. We know of no instance but
this, of the transmission of an art, or profession, through so many
generations, and in which the individuals have all rendered them-
selves more or less eminent.

Louis Couperin, born at the commencement of the 17th cen-
tury, was organist to Louis XIII., and died in 1665, leaving in
manuscript three suites of pieces for the harpsichord. He had
two brothers, Frangois and Charles. The former, a much cele-
brated musician, had a son, Nicolas, a performer of great skill
and taste, and highly esteemed as a master. The lalter died in
1748, and was succeeded by his son, the above Armand- Louis,
who in 1770 also became organist of the Chapelle du Roi, as well
as one of the four attached to Notre Dame. He seems to have
been a great pluralist, for with the foregoing appointments he held
those of organist to the Sainte-chapelle du Palais, of St. Barthe-
lemi, and of Sainte-Margiierite. He published two sets of so-
natas, and one of trios, for the harpsichord, and left in manu-
script several motets and compositions for the church. His ability
was of so superior a kind, says M. FayoUe, that he had no rivals :
all looked up to him without jealousy, for his superiority was un-
contested. He died in 1789, and most of his many places fell to
his son, Gervais-Frangois, who was living a few years ago, and
then had a daughter. Celeste, who, thougn young, possessed a
fine voice, and seemed to inherit the talent of her family.

Part of a Pot-Pourri — (Page 90).

This is a portion of the nineteenth Pot-Pourriy including the Air
Russe, and variations on it, composed by

DANIEL STEIBELT,

one of the most popular composers^for the piano-forte, and admired
performers on it, that the annals of music can boast. He was
bom at Berlin, in 1755, where his father was established as a
manufacturer of piano-fortes. His early talents attracted the
notice of Frederick of Prussia, under whose patronage his mu-
sical studies were pursued. On the death of that monarch,
Steibelt quitted Berlin for Paris, where he remained some years ;
then came to London, and continued here till the year 1799, about
which period he returned to Germany. He shortly after travelled
into Russia, and took up his residence at St. Petersburg. When
the emperor Alexander ascended the throne, he appointed Steibelt
his chapel-master, a high and lucrative ofBce, which determined
the composer to settle finally in the capital of the great northern
emjpire, where, after a lingering illness, he died in 1823.

Steibelt*s compositions are numerous, though most of them,
having been written with a view to extensive sale, or, in other
words, having been produced from pecuniary motives, are of a
light kind, had their day, and are now forgotten. But those on

Vol. IL

which he meant to build his reputation, show a vigorous and ori-
ginal genius, as well as a command of the resources of harmony.
Among these are his grand sonata, dedicated to Madame Bona-
parte ; his sonata, op. 30 ; his concertos, Zai Chasse, and the uni-
versally-known Storm; his two sonatas, op. 80, dedicated to
PrinceGalitzin ; his first Fantaisie ; the Pot-Pourri whence this
selection is made ; his Etudes, &c. Nor must his two beautiful
ballets, Le Retour du Zephyr, and Zai Belle Laitiere, be passed
unnoliced. He was author of three oiper^s,' Romeo and Juliet,
written in the early part of his life, and Cinderella, and The Judg-^
ment of Midas, composed for the Imperial French Theatre at St.
Petersburg, the former of which was there performed, with suc-
cess. The latter was left, in an unfinished state, to his son, the
only legacy that an improvident father had the power to bequeath.

Overture to Demetrio e Polibio — (Page 94).

Demetrio e Polibio was Rossini's first opera, performed at the
theatre VaUe, in Rome, in 1812. It was written for the two
sisters, Monhelli, and their father, relations of the composer, the
libretto having been furnished by Mad. Vigano Monbelli. M. de
Stendahl (M. Beyle) speaks in his rapturous way of this opera,
but it has, we believe, never yet passed the Alps in an entire state.
The overture, though almost unknown in this country, is mucli
admired on the continent, where the novelty in its style, and per-
haps of its melodies, have secured to it a very wide circulation.

Larghetto and Rondo — (Page 100),

from the first of Clementi's Dev^ Sonates, op. 5. The slow
movement is only a small part of the larghetto ; the rondo is
printed at full length.

From

Song— (Page 89).

I would I were a careless child

Still dwelling in my. Highland cave,

Or roaming through the dusky wild
Or bounding o'er the dark blue wave.
« « « « •

Place me along the rocks I love.
Which sound to ocean's wildest roar,

I ask but this— again to rove

Through scenes my youth hath known before.

Fain would I fly the haunts of men ;

I seek to shun, not hate, mankind ;
My breast requires the hollow glen

Whose gloom may suit a darkened mind.
Oh * that to me the wings were given,

Which bear the turtle to her neat !
Then would I cleave the vault of heaven,

To flee away, and be at rest*.

' Stanzas ' in Lord Byron's earliest publication.

• pMlm Iv. vene 6. — ' And I laitl, Oh! that 1 had wingi like a dove, then would
I flee away, and he at rest.* This vene also commutes % part of the mott beautiful
aathem in our language. {N^te qf Lord B^on.)

THE MUSICAL LIBRARY.

GEORGE GORDON, lORD BYRON.

Though we have in our first volume inserted two extracts from
the works of this author, we have yet only mentioned his name ;
and it will now he necessary to say but little of a writer concerning
whom so much is universally known. Lord Byron was born on
the 22nd of January, 1788, and succeeded to the barony, on the
death of his grandfather, in 1798. It is supposed that he was in-
debted to Scotland for his preparatory education; afterwards,
Harrow and Cambridge had the honour to number him among
their sons; though it appears very evident that he was in a
continual state of revolt against the course of study pursued both
at school and at the university, and gained his knowledge in
rather a desultory manner. In short, he must be considered, in
some measure, as a self-educated man, and to this circumstance
much of his greatness, we are persuaded, may be ascribed. Had
he written good Latin verses at Harrow, or obtained an honour
at Cambridge, it is probable that he would in after life have
thought more of quantity than of meaning, — more of angles and
curves than of rhetorical figures. This truly illustrious nobleman
died at Missolonghi, on the 19th of April, 1824.

The music to which we have adapted Lord Byron's words is a
German song, composed by

MAXIMILIAN EBERWEIN,

A clever composer, but little known. He is a native of Rudol-
stadt, where he had his birth about the year 1780, and in which
city his father was music-director. In 1809 he was appointed
Kapellmeister to the Elector of Saxony. He has composed
several works, including' a successful opera, and is, we believe,
still living.

Madrigal — (Page 90).

Dora gave me fairest flowers.
None so fair in Flora's treasure :

These I placed in Phillis' bowers ;

She was pleased, and she* s my pleasure*

Smiling meadows seem to tay,

* Come, ye wantons, here to play.'

Composed by

JOHN WILBTB,

who, in 1598^ Sir John Hawkins tells us, was a teacher of music,
dwelling in Austin Friars. Such is the amount of all that is
known concerning the personal history of one of the best of our
old English composers. In the year above named he published
a set oi MadrigaU, to three, four, five, and six voices; and a
second book of the same, in 1609. Among them is the present
madrigal ; also ' Sweet honey-sucking bees,' and ' Stay, Corydon,
thou swain ; ' but not one of these very fine compositions is men-
tioned by Hawkins, and but one — that now printed — ^by the other
musical historian, Burney. Mr. Warren (afterwards Warren
Home), the first secretary to the Catch-club, published^ about
fifty or sixty years ago, fourteen madrigals for three voices, se-
lected from the before-mentioned works ; these include the ad-
mired compositions, * As fair as mom,' and * Fly> love, to heaven!'
with others of great merit, which, now a taste for this superior
class of music is so fast reviving, will speedily emerge from that
obscurity to which they have been so long condemned.

Aria— (Page 94).

Verdi prati, e selve amene,

Perderete la beltk.
Vaghi fior, correnti rivi.
La vaghezza.
La belezza,
presto in vol si cangeriL
E cangiato il vago oggetto,
All* error del primo aspetto,
Tutto in voi ritornerli.

From the opera of Akina, written by Antonio Marchi, the story
taken from the sixth and seventh cantos of Ariosto. The air is
sung by Morgana, sister of the sorceress, Alcina, who, not meet-
ing the expected return of her love, threatens to change into
a gloomy desolation all the beauties of the enchanted isle. The
opera was set to music, and produced at the King*s Theatre,
in 1735, by Handel, with the most marked success. It appears.

from the libretto, now lying before us, that Signora Strada was
the Alcina, Signora Negri the Bradamante, and the famous
soprano. Signer Carestini, the Rugyiero. Miss Young, after-
wards the wife of Dr. Arne, took the character of Morgana^
Mr. Beard was Orontes, and ' Young Mr. Savage' personated the
youthful Oberto. The part bf AielissO y^sa allotted to ' Mr.
Waltz,' a German, who had been Handel's cook ! Dr. Burney
mentions a curious fact relative to three persons engaged in this
opera, — Mrs. Arne, Mr. Beard, and Mr. Savage — that they were
all living in 1788, fifty-three years after its first performance.

Duet— (Page 96).

WTjy should mortals sigh for gold ?

Health's the greatest boon of fate.
He who calmly thus grows old.
He is happy, rich, and great.
Health and content joined with virtue below,
Are the greatest of blessings the gods can. bestow.

We know not the author of these lines ; and in truth they are
unworthy of the music, which is among the many admirable
compositions that we have undertaken to rescue from oblivion.
The music is by

JAMES NARES, MUS. DOC.

Organist, composer, and Master of the Children of the Chapel
Royal, to George H. and HI. He was bom in 1715, and
educated in the King's Chapel, but completed his studies under
Dr. Pepusch. While yet a youth he was chosen organist of York
Cathedal. In 1756 he succeeded Dr. Greene, as organist and
composer to George H., and in 1757 had the degree of Doctor in
Music conferred on him by the University of Cambridge. In the
same year he was appointed to the office of Master of the Children.
He died in the year 1783. Dr. Nares published several works,
among which are Twenty Anthems in score, composed for the use
of the Chapels Royal, &c., a volume of Catches, Canons, and
Olees, dedicated to his friend, the Earl of Mornington (father
to the Duke of Wellington), several harpsichord lessons, three
didactic works, &c.: and after his decease, his son (the late Arch-
deacon of Stafford) published a second volume of his sacred
music, consisting of a Morning and Evening Service, together
toith six Anthems, &c. He was the elder brother of Sir George
Nares, formerly a judge in the Common Pleas, and uncle to the
present Rev. Edward Nares, D.D. As an ecclesiastical compo-
ser he has few equals, and in his secular music he seems to have
anticipated many of the beauties of more modern music. He
was an accomplished man, and in every way an ornament to his
profession.

Song— (Page 100).

The streamlet that flowed round her cot.

All the charms of my Emily knew ;
How oft has its course been forgot.

While it paused her dear image to view ! ^

Believe me, the fond silver tide

Knew from whence it derived the fair prize,

For silently swelling with pride,
It reflected her back to tlie skies.

In the opera of The Woodman, written by

THB R£V. SIR HENRY BATE DUDLEY, BART.,

Many years proprietor and editor of the Morning Herald, and, as
a clergyman, rendered remarkable by his duel with a Mr. Bowes.
Shortly after this, he added Dudley to the name of Bate, became
Chancellor of the diocese of Ferns, and for his activity as a magis-
trate, and zeal as a land-improver in the county of Essex, had a
baronetcy conferred on him. He wrote The Flitch of Bacon, The
Woodman, Travellers in Switzerland, &c., and died at a rather
advanced age a few years ago.
The music is by

. . WILLIAM SHIELD.

This highly-distinguished English cbmposer, the son of a
singing-master, was born at Smalwell^ Durham, in or about the
year 1749. Losing his father early, he was apprenticed to a

THE MUSICAL LIBRARY.

lioat-builder at Shields, bat dedicated all his leisure hours to his
iriolin. When his term h^ expired, he determined to devote
himself wholly to his farourite art, and soon became able to lead
the Newcastle concerts. In this situation his talents introduced
him to the notice of the celebrated Avison, author of the Essay on
Musical Expression, who gave him instructions in the theory
of composition, the benefit of which was soon manifested in
im anthem composed by him, and performed at the consecration
of the new church at Sunderland. Thb at once stamped him as
a man of genius; the dignitaries of Durham Cathedral invited
him to their tables, and his reputation was made. He now
undertook the management of the concerts at Scarborough, then
m fashionable place of resort, and becoming acquainted with some
of the leading performers of the King's Theatre, was persuaded to
accept an en^gement in the orchestra of the Italian Opera
House, and there filled the situation of principal viola nearly
twenty years. He first appeared as a dramatic composer in
1778, when he set The Flitch of Baam, written by the Rev.
Mr. Bate, afterwards Sir Henry Bate Dudley, Bart This led to
his being appointed composer to, and musical manager of,
Covent Garden Theatre, which responsible ofiice he long filled,
laid produced most of his operas during the period that he
held it.

In 1791 Mr. Shield made a tour through Italy, with his
friend Ritson, the well-known editor, but renewed his engagement
at Covent Garden the following year. He now published his
Introduction to Harmony, a second edition of which, with an
additional volume on Thorough-base, appeared in 1819. On
the death of Sir William Parsons, in 1817, the Prince-Regent,
unsolicited, appointed Mr. Shield to succeed him as Master of
His Majesty's Band.*

Mr. Shield was one of the original members of the Phil-
harmonic Society, though he never took any very active interest
in its concerns. This ingenious, elegant composer, and most
excellent and amiable man, died in 1829, leaving a widow, but no
children; and his remains were deposited in the cloisters of
Westtoiinster Abbey. While sweet music, such as that in The
Poor Soldier, Rosina, Robin Hood, The Woodman, The Farmer,
&c,, &c., shall be appreciated, — so long as airs having the merit
of The Thorn, The Heavina of the Lead, ' O ! bring me wine,' and
' Down the bourne and thro' the mead,' shall be listened to,
the name of Shield will never be forgotten.

Song— (Page 102).
The Parting.

Let one fond, parting kiss, ere for ages we sever,

Be pressed on these lips by the lips I adore :
* Shall it ne'er be pluck'd hence, love V believe me, ah never,

Till again I return, and thou ciaim'ist it once more.

The kiss which affection and virtue, while glowing
With chaste wedded love, on the loved one bestows,

Is a cluurm in all dangers, still courage bestowing,
A cure for all sorrows, a balm for all woes.

In ocean's dread storms will its mem'ry inspire me.
In Asia's fierce climes keep its watch o'er my head.

In affection support, in the battle'»-rage fire me.
And e'en in the desert a banquet will spread.

Enshrined in the tear from those eye-lids now streaming,
£mbalm*d in the sigh which thy bosom now rends.

That kiss, like the day-star of hope kindly gleaming,
Will cheer me in absence from thee, home, and friends.

These verses were written by the late Francis Townsend, Esq.*
one of the Pursuivants of the Heralds' College, a man of con-
siderable learning and talent, and a real connoisseur in music.
They were adapted by him to an air in the opera of La Sfraniera,
composed by Yincenzo Bellini, of whom we only know that he
is the living and fashionable composer of 11 Pirata, La Sonnam-
bula, &c., and has certainly produced some very pleasing
melodies, of which the present is among the best, though he seems
unequal \o the composition of a whole opera that shall have any
chance of maintaining its ground beyond two or three seasons.

* * When Hr. Shield sftteaded st Che Pavilion to czpresi his gratitude, his Ro^al
BighncM interntpted him in the midst of hie acknowledgmente, by the fiattenng
woide, " Mj dear Shield, the place is your due 2 your merits, independently of my
vegaid, entitle you to it/'*— (^Harmtmieom,)

ENGLISH COMPOSERS versus ENGLISH OPERA-
HOUSE.

A correspondence appeared in TTie Times, in May, which
attracted some notice from the musical public, and may load to
important results as regards our native composers. So many are
interested in this matter who had no opportunity of seeing the
journal in which the short controversy was published, that we wil-
lingly comply with a correspondent's request, and reprint it in our
columns.

It seems to be now necessary that English composers should
make a stand, should combine, and even address the throne for
permisMon to open another theatre, if no relief is likely to be
aflTorded them ; for it is quite preposterous to suppose that a mail
of talent, a man whose works are worthy of public notice, will
exert his abilities and devote six months of his time, — the shortest
period that he ought to allow himself — ^in order to produce an
opera, with no other hope of remuneration than that wmch he may
derive from the sale of his copyright. No doubt plenty of per-
sons may be met with to offer their compositions on any terms,
but of these how many will be found qualified for the task that
vanity or want tempts them to undertake ? Probably not one. Or
should, peradventure, one appear, is it likely that, after he has
made himself a reputation, he will ever again render his services on
such unprofitable, such humiliating terms?

It may be argued, that our good old composers had no compen-
sation from the theatre for their operas ; but let it be remembered
that the elder Linley, Shield, Arnold, Storace, and formerly
Bishop, held the office of musical manager, and as such received a
handsome salary. Also, that it was their privilege to set every
musical drama produced in the house to which they were attacheo.
In those days, too, publishers paid a good round sum for the copy-
right of an opera. When competition was permitted, the musical
manager soon found liimself in a different situation, and the office,
in its original and beneficial state, ceased to exist.

Composers certainly ought not to require to be placed in a more
favourable position than authors, but their reward should be at
least as great, considering of what stuff modern lyric dramas are
generally made, and their remuneration in the event of success
ought to be as certain, and as fixed in respect to amount. Till
some regulation of this kind is established, it will be in vain to
expect a permanent supply of ^ood English operas. One now and
then, as an exception proving tne rule, may be produced, but, as is
shown in the case now brought before the public, the successful
composer will find that he has no temptation to exercise his talent
a second time.

The following is the correspondence,

Sra, — I perceive by the play-bills that the opera of the Sonnambvia
is about to be produced at Mr. Arnold's English Opera House. The
national feeling and critical acumen evinced in the articles upon the
native operas, which successively appeared in your journal, produced
the hope that Mr. Arnold was earnest in his professions to abide by the
priactple of his licence, and to devote his theatre to that it was originally
intended for — an English Opera House. The cant that an Englishman
did not possess sufficient genius to develope a consecutive drama, with
appropriate melodies, and corresponding harmonies, one short season
sufficed to crush. The MourUain Sylph continues to delight crowded
audiences. Mr. Bishop was originally requested to compose music to
Mr. Arnold's alterations of Nourjahad. Remune^ration was demanded.
The answer was, ** I never will, under any circumstances, set the ex-
ample of paying composers for their works; I can procure foreign
scores for 4/« or 5^" Now, what must be the inevitable consequence
of this liberal principle ? Composers of the first class cannpt devote
eight months in setting an opera, with the delightful certainty tliat Mr.
Arnold will not depart from his principle, with the additional prospect
of an incomplete band, and an inefficient chorus. I am aware that tyroe
may be found willing to give their works ; and Mr. Arnold will, from
principle, accept them, and thus make a case, that, from the paucity of
talent Ud native composers, he is forced by principle to procure foreign
operas. Now, can it be expected that composers, whose works liave
stood the test of ever-varying popularity, can be expected to present
tlieir labours on the shrine of Mr. Arnold's principle? The music of
Nourfahad was written gratuitously. The composer of The Mountain
Sylph has never received one shilling from the theatre. The answer
may be, — there is the musical copyright ; the fact is, that in the present
state of the trade, there is not a house of business that would venture
2001, for any copyright, however popular it might be. The effect
emanates from the same cause. Ex, gr. a foreign work is produced at
the English Opera House. Mr. Hawes, from his position as musical
pablisher end musical director, will naturally prefer foreign to British
vrodoce. There is no bonu$ to be paid for copyright ; hence it becomes

THE MUSICAL LIBRARY.

a policy in the musical director of the English Opera House that foreign
Morks should supersede every thing of native produce. This is the prin-
ciple of at once putting the axe to the root, and crushing the efforts, and
literally starving out both master and tyro. The first cannot live on
air ; the'latter, by having his premature efforts produced, which the im-
proved musical taste will condemn, will perish at once and be no more
heard of. Should Mr. Arnold persist from principle in bringing forward
foreign operas at his theatre, a step destructive to the interests of native
talent, — ^if Mr. Arnold will not open his theatre from principle, because
foreign operas can be got for nothing, I boldly affirm he, to all purposes,
forfeits his licence, and instant means should be adopted to have a bona
Jide English Opera House, conducted upon the same liberal system as
the Academy at Paris, feeling assured that the British musical public
will coalesce in an effort the object of which is to encourage and protect
Dative musical genius from the withering effects of a monopoly, the
principle of which is to crush every honourable effort of the British
com^.oser.

I am, sir, your obedient servant,

A VERY POPULAR, BUT ALMOST STARVING, DRAMATIC

May 9. composrr. {TimeSy May 12.)

Sir, — As you have inserted in yesterday morning's Times a letter
containing direct charges against the management of the English Opera
House, I know that I have only to claim from your justice the right of
immediately and fully replying to them. I claim to have made no pro-
fession which I am not anxious to act up to in its fullest extent ; but
my professions are known, and let subsequent facts speak for them-
aelves,

Tlie assertion of your correspondent, as to the answers made to Mr.
Bishop, is utterly false. No conversation ever passed on the subject ;
the negociation was entirely in writings, and is extant. Tlie answer to
Mr. Bishop's unprecedented demand for composing an opera was simply
through a third person — ** I have shown your proposals to Mr. Arnold,
who merely remarked, • I have no reply to a proposition which I con-
aider an insult to common sense*.' ** I accept the works of tyros?
Yes ; in a dramatic sense, both Mr. E. Loder and Mr. J. Barnett were
tyros when I last season produced their works. Nourjahad was Mr.
Loder's first dramatic attempt, and I venture little in asserting that
Mr. J. Bamett's name was only known to the public as the composer of
some very elegant airs, and I do not recollect one drama by which his
name .ncquircd distinction or even notice. Thus my thankless attempt
to establish English music on the stage produced the fortunate result of
introducing to public notice and to fame at least two tyros.

The composers, who declare that music should at this moment be re-
munerated by the proprietors of the theatres, are somewhat in the con-
dition of a husbandman, who should refuse to sow seed for an uncertain
hope of harvest. English music is not yet sufficiently attractive to
enable a management to pay for it. Let a school be formed, the opposing
cant eradicated, and native art become a fashion, and the composers will
not have to solicit remuneration ; it will be offered to them. But they
should not rip up the goose for the sake of the eggs: — they should not
negatively and positively throw obstacles in the way of an establishment,
the success of which (if any) must become their success, or indulge in
unfounded attacks, because they are not disposed to encounter the toil,
which genius of every kind and in every age has had to contend with.
I produce the Sonnambvla for these reasons; — First, to aiford a native
female artist of great talent, and even higher promise, an opportunity of
ainging music, in which she has already made herself proverbially emi-
nent ; and surely there are other interests in so coniplicated a concern
as a theatre, to be considered as well as those of English composers.
Secondly, I produce it, because I have no opera complete in the house,
by an English composer, except the one underlined in my bills, and in
actual preparation by Mr. Rodwell ; and I am not sorry if this event
collaterally tends to oppose the system of reducing the national drama of
the two patent houses (so called) to one company, expressly engaged
for the support of one foreigner, after fulfilling very little more than
two-thirds of the season.

As to the composer of The Mountain Si/lph, he actually did receive
money from the tiieatre, by means of an improvident bargain, indeed,
with the author of the words, whereby the literary and musical profits
were equally shared ; but thfit the bargain is a bad one, clearly proves
that a composer is better paid than a writer ; and when I state on the
authority of Mr. Hawes, the publisher, that the ultimate gain of the com-
poser u[K)n that work, supposing him to have made no such bargain with
his author, must probably be from 300/. to 400/., and possibly much
more, I venture to say that eight months of the life of a man devoted to
his art, even if it should take so long a period, and called by the exercise
of it into fame, are not very poorly remunerated. The attack upon
Mr. Hawes, I feel to be particularly unhappy and uncalled for. Ad-
mitting that it were his interest that foreign music should be performed
here, which I do not perceive, (for a good copyright must be more pro-

dei

* This IB rather rough languai^e. Every composer has a right to ask what he

»lease» for hU kcrvioes, aod every manager has a right to comply or not with his

maml ; but courtesy requires that an annwer be sent to terms proix>sed. (Editor,)

fitable than a publication which every one may pirate) where is the proof
of his influence ? No foreign opera has been produced or even thought
of, until the English sources have for the moment failed, mainly through
the conduct of the composer of The Mountain Sylphy who certainly
induced me by his own communication to believe, even until after the
opening of the theatre this season, that an opera was being composed
by him for the house, upon a subject ofiicially communicated to me by
the writer of the words.

I have it from distinct authority that a party is to he formed to
oppose the first representation of the Sonnambula here, and that this
piece of enmity is to arise from the British Musicians ! I fearlessly
leave my cause with the public. I know that I am now acting, and to
the best of my power have acted, for the interests of national music
The production of Der Freischutzy and the series of foreign operas
which followed it, called into existence the energies of English com-
posers — the expense, time, care, and trouble, devoted to subsequent
native talents have fostered them. That a * very popular dramatic com*
poser' should be * almost starving', is no reproach upon me. — If very
popular, either there is no remuneration for popidarity of this sort, and
I cannot therefore afford to give it, or, having enjoyed the reward of
popularity, the possessor has used his chances improvidently. The
appeal he has made is neither graceful nor modest — least of all true or
friendly to the cause ; but if he can find a well -constructed drama* and
can add to it popular airs, and masterly harmonie8«-I think he will find
that its production at the English Opera House would enable him to put
as much money in his purse, as would supply the decent necessities of
an artist for a year to come, at all events. With this I may leave him.
I am, Sir, your obedient servant.
May 13. S. J. Arnold. (Jimet, May 14.)

Sir, — I shall only reply to Mr. Arnold's letter so far as regards his
assertions as they apply to myself. The allusions generally levelled at
the paucity of existing musical talent in this country, I do not feel my-
self called upon to combat. The public will judge whether his asser-
tions arc borne out by the fact. Mr. Arnold applies to me the epithet
* tyro.' Now if his memory still serves him, he will find that so far hack
as 1825, I produced a musical piece called Before Breakfast, and many
others at his theatre ; and during the last ten years, I have composed
music to more than thirty dramas, many of which were operas, viz., the
Carnival at Naples^ the Pet of the Petticoats, &c., independently, of
having been composer and director to Madame Vestris' theatre. This
portion, therefore, of Mr. Arnold's letter, which slates that I was a tyro
in 1S35, will be appreciated in the same ratio as the truth and delicacy
by which it was dictated.

That I have been paid for the music of the Mountain Sylph, I utterly
deny. The strongest evidence I can produce, is an extract from Mr.'
Arnold's own letter (March 20, 1834), to the author, during the nego-
tiation for Its production.

* On receiving back the improved MS., with a letter written by Mr.
Barnett, renouncing all claims for remuneration from the theatre or me
for his music, I shall consider our bargain concluded.'

I now call on Mr. Arnold, or his treasurer, to prove by receipt, or
any other document, that I received a shilling from the theatre, or that
I was in any way connected with the pecuniary arrangements of the
Mountain Sylph,

Mr. Arnold's simile of the ^ Husbandman and Harvest,' without wish-
ing to detract from the metaphor, is singularly unhappy, when applied
to non-payment of composers, for were the husbandman convinced^
however excellent the crop, thai there would be no market for its sale»
would he be induced to bestow his labour on the cultivation ? I should
think not.

Mr. Arnold complains that his attempt to establish English music
has been met by ingratitude. I have no hesitation in saying that, but
for the determination of English composers to counteract the effects
emanating from Mr. Arnold's principle of not producing English works,
and to procure a licence for a genuine English Opera House, neither
Nourjahadt nor the Mountain Sylph, nor any but foreign works would
have been produced ; their production was a sop to the Cerberus, and
to crush for awhile their well-combined efforts.

1 deny ever having commiinfcated my intention of , composing an
opera for Mr. Arnold's theatre gratuitously ; how could I in justice to
myself do so, when 1 was distinctly assured that composers would not be
remunerated ; for however ^ devoted to my art,' I possess not the secret
of existing upon 'air?' The only means to get at the ' eggs,' is to rip
up * the goose.'

The futile excuse for bringing forward the Sonnambuia^ because there
was no English opera ready, is a corollary from a wrong datum. Had
the manager acted with common justice to native composers, the di-
lemma would not have existed.

As to the sale of the music of the Mountain Sylph realising from
800/. to 400/., I shall be most agreeably disappointed should such be the
case. I can only state, from Uie trifie I have received, I can have no
moral reason to expect even a moiety of that sum, for at this moment,
after repeated letters to Mr. Hawes for a statement, I have not sue*
ceeded in procuring the debtor and creditor account. I am now neces-

THE MUSICAL LIBRARY.

Bitated to commence legal proceedings, to arrive at the knowledge of
realJy what I am to expect.

I am, Sir, your obedient senrant*

John Barnett. (Times^ May ISth.)

Sir,— Having allowed my opponents the opportunity of attack, -it is
but fair that your columns should be open to my defence. I am well
aware of the tedious length to which such disputes are likely to run, but
YOU have given them the first word, and I trust you will allow that I
have a right to the last. I will answer the points of Mr. Bamett's
somewhat intemperate letter seriatim, but briefly.
' I stated that the composer of The Mountain Sylph received remu-
neration from the theatre*- not directly, but by means of an improvident
bargain with the author, by which literary and musical profits were to be
equally divided. Where is the reply to this ? I find only an unworthy
evasion. He {who ?] denies what I never affirmed — that any direct
arranffemeni was made with himself to pay fox the music. A composer
must nave a drama which will in a great measure be sacrificed to the
musical effect. Where is the payment of the author to come from ?
From the composer himself? In addition to the extra expense, time,
trouble, and risk of operas, is a manager to have the disadvantage of
doubling his payments for the piece ? Mr. Bamett says there is no
market for the sale of his productions. Are there no musical pub-
lishers ? And has it been the custom to seek any payment for English
music, except from them ? And does he expect me, at the commence-
ment of a severe struggle in favour of his own interest, to take upon my-
self a new burden of expense ?

Mr. Bamett, on his own showin<^, was entitled by bargain to receive
nothing from the theatre for the Mountain Sylph. Bearing this fact in
view, I beg leave to request your attention to the following letter ; and to
ask whether it does, or does not, contain the offer of another opera,
upon what may fairly be construed similar terms: —

" 29, Soho-square, Sept. 29.

•*.My dear Sjr, — Allow me to present you with a copy of the
Mountain Sylph, which I have taken the liberty of dedicating to you
— first, because you were my earliest patron, the recollection of which
will always weigh gratefully upon my heart ; and, lastly, because, at the
risk of great losses to yourself, you have most magnanimously taken up
the cause of English music, and have produced the first legitimate
English operas in your theatre.

*' I only hope that the English composers will profit by the advantage
they have derived by your opening a field for them to exercise their
talents in — for myself I may venture to speak. I am at work, and hope
to produce something that shall not diminish the good opinion you
have of,

•* My dear Sir, vours,

" S. J. Arnold, Esq." ' " John Barnett." .

I also request your readers to look at Mr. Bamett's highly flattering
dedication to myself of the music of the Mountain Sylph, and at the
advertisement which succeeds it, in which he distinctly calls that opera
his '* first humble effort — his first attempt at legitimate opera,'* and then
to determine whether I was reprehensible in calling Mr. Barnett, before
its performance, a tyro-— a term by which I certainly never intended to
convey offence.

I am. Sir, your obedient servant,

S. J. Arnold. (7iW*, May 18/A.)

MUSIC AS AN AMUSEMENT TO THE
LOWER ORDERS.

7\> the Editor of the Supplernent to the Muncal Library.

Sir, — I will make no apology for offerinfr a remark on an article in a re-
cent Number of the Supplement to the Musical Library, on * Music as an
Amusement to the Lower Orderf«/ as you have therein said one or two
things which it appears to me have been in some degree suggested by
my own observations on the church-music of Haydn and Mozart. Thus
you observe that,

* To the superiority of Catholic church-music over our parochial
psalmody is to be attributed the superior aptitude and taste for narmony
80 conspicuous in Catholic countries.'

Now it is not so much to any superiority in the music of the Catholic,
to that of the Protestant church, that this better taste is to be attributed,
(for few things can, in my opinion, be more beautiful than much of the
psalmody of the Established Church,) as to the more desirable forms in
this respect of the Catholic worship, which have been retained in the
cathedrals, and which admit of a greater quantity as well as variety of
music, and this moreover without the necessity of any departure from
the most rigid simplicity, which, whatever may be the ornate and florid
manner of much of the music of the CathoUc church, is abundantly
proved by the style of our own cathedral services. No one, for instance,
Uiat has ever felt the power of those beautiful chants and chor&ls that
constitute so large a portion of the ctfthedrai service, but must at once

be aware of what they are capable of effecting, in training the public
ear, and early conveying musical impressions of the simplest and most
beautiful khnd. Of course, however, no such proceeding as their general
introduction into public worship could take place, until it be deemed ex-
pedient to appoint another set of functionaries to the administration of
the vocal portion of it, than those who at present have possession of the
churches. Let it ever be remembered, however, that it nas been mainly,
perhaps solely, to the judicious retention of these and other forms of the
ancient church, in the cathedrals, that England is indebted for its emi*
nence in that style of music in which alone it can furly chidlenge a
comparison with the great masters of Italy and Germany. It is an un-
doubted fact, at the prevailing iffnorance of which one cannot but
^wonder, when its importance, and the gratification it is so well calculated
to afford to the national pride, are considered, that from the English
church-writers it was that Handel drew so much of his deepest inspira*
tion. This is very well known to all whose knowledge enables them to
judge. The rest may be referred to the old anthems and cathedral ser-
vices, particularly to those of Dr. Croft, where the itudent will discover
the germs of many of Handel's finest choruses. It is said that when
Mr. Wesley was reminded of this resemblance, he replied, tliat Handel
had made a diamond of what he had found a pebble only, an observation
in which I suspect he will get few to concur; for what sort of a ' pebble*
that must have been which Handel deemed worth his while to convert
to a diamond, the public may be very safely left to conjecture. In the
mean time we are mformed by the press, that * Merry England is written
down an ass from St. Petersburgh to Lisbon,' to which flattering appel-
lation it appears, from the same authoritv, there is nothing for her but
to submit anid have her 'pocket picked into the bargain* ;' to which
comfortable alternative she may, I think, fairly demur, while she has
such a fact as the above to throw in the teeth of her critics and scomers*

Again, you observe that

• The blame (of our degeneracy) rests chiefly on the police laws, and
on the harsh manner in which they are frequently administered. These^
rigorously interpreted, as they too often are by the magistrates, virtuallv
forbid the innocent recreation of music, by refusing licences to such
houses as provide it for the amusement of their customers, &c.'

This can at most only apply to the lower classes, whereas the imputed
deficiency pervades the whole frame of society. Waving this, however,
I would ask how it has happened that no laws were ever required to re-
strain the labouring classes from holding mechanics' institutes and lite-
rary societies in the public- houses ? and wherefore it is that musical know-
ledge alone can be inhaled only with the fumes of gin and tobacco ? for
until tliis can be satisfactorily shown, the policy of relaxing the laws which
prohibit music in the public-houses may, I think, at least be questioned^
especially when it is further considered, how ready most people are to
avail themselves of any plausible excuse for the indulgence of a vicious
habit.

Allowing the desirableness, however, of removing these obstacles to
knowledge, the difference must be sufliciently obvious both in the nature
and amount of the musical instruction to be obtained in public-houses, and
that to be derived from an habitual attendance on the cathedral service,
and a knowledge of its simple and impressive effects, imbibed with the
earliest impressions of infancy ; for who will deny the influence of these
in forming the taste as well as character J and thus, from the nature and
extent of its hold upon the public mind, it is that so much might be
reasonably anticipated from the church. Music-meetings and musical
societies' of all kinds, whatever may be their reaction upon public feelings
after their establishment, are to be considered as the offspring rather than
the father, as the effect rather than the cause of the diffusion of taste. It
is the moral obligation so generally felt of an habitual attendance on
public wortihip from childhood upwards, that gives to the church its pe-
culiar power of becoming the parent of musical knowledge. To main-
tain, therefore, that public taste could possibly long remain in its present
degraded state ; that the noises that go by the name of street-music, the
yellings in public-houses, and the shouting in drawing-rooms, could co-
exist for any length of time with the general restoration of the choirs, is
to contend that light and darkness are identical. Nor can it be denied*
if indeed music have the ' humanizing' character which has been claimed
for it, that publfc morals as well as taste must be benefited by the change*

You maintain that, acknowledging the musical aptitude of catholic
countries to be attributable to the * superiority of catholic church-music
over our own,' this cannot account for • bur notorious inferiority to the
Lutherans and ProtestaYits of Germany.' But then the Catliolics and Pro-
testants bear nothing like the proportions to each other in this country
that they do in Germany ; and hence the superior knowledge of the
German Protestants may be more readily accounted for from the reflected
light upon this subject thrown from the catholic church, more especially
as, it would seem, you are not prepared to deny their inferiority to their
Catholic brethren. Let me remind you, moreover, that for myself I
never contended that the musical degradation of England was to be attri-
buted solely to the events and facts I have referred to ; that they afford
one very material clue to it, however, it will, I think, be diflicult to deny.

Yours, &c.

S. E.

New Monthly Magasine.

G,3

THE MUSICAL LIBRARY.

Hakobi..

MOSABT.
HoRlflMaTOK.

Pbroolsmu
Mozart.
Hamdbl.
Dr. Cookb.

MOSAST.

HAiin««*

Hamdbl.

Handbl.
Pbroolbsi.
Ayuoic.
T. Moubt.

MOSART.

Haw>bl.

ANCIENT CONCERTS.

SEVENTH CONCERT, W«dneiday, May 27th, under the direaion of Hii BojbI
Hi^mess the Duke of Cambridge.

Act I.

God tave the Xing.

Coronation Anthem, 'The King ahall rejoice/ • . .

CUee, < Here, in cod grot,* • • • • Eabl op

Chorus, < Cum Soncto Spiritii,' • • • • •

Song, Signor Lablacbe, < Non piCk andrai,' {Le Nozze di Figaro.)
Trio, . . . . . • .

Spartan Glee and Chorus. ' I haYO been young,' • •

Chuorus, ' Gird on thy sword,' (iSaat/.) • •

Act XL
Overture. • • • • •

Chorus, ' O the pleasures,' ....
Recit.l«-^ «.^ .. (« Ye verdant plains/ 1

Redt. * Lo ! here, my love/ . • • •

Chorus, < WfBlched lovers/

Song, ; ^'- •P*»>1*»I»- |i o ruddier than the cherry,'/
Recit. < His hideous love/ • . •

Reeit. * Cease, O cease,' ....

Chorus, ' The many rend/ {AUxander^t Feaai.) •

Song, Mr. Balfe, ' O Lord, have mercy/ • . •

CottCfrto, ...... •

Madrigal, ' Now is the month/ {Doible Chair.)
• Song, Signor Lalilache, < La vend«;tta/ {Le Noxae di FigarQ^
Churus, * Fiz*d in his everla&ting seat/ (Satmon.)

The Queen, accompanied by the Landgravine of Hesse-Homberg,
was present at this concert, and obliged to stand through the too-
often-repeated ceremony of ' God save the King.' Like a cordial,
this hymn is excellent on certain occasions, but, as is the fate of
all cordials, loses its e£5cacy by being too freely used.

The anthem, written for the coronation of George IL, went off
remarkably well. Its melodies, though bearing the marks of a^e,
^are yet very natural and pleasing. In the grand scena from Don
Giovanni, Madlle. Gtisi was both tender and energetic, but occa-
Bionally forced her voice till it became not only too loud for the
place, but also harsh. She generally seems to forget that the
area of the King's Concert-room is not one fourth that of the
King's Theatre. ' Here, in cool grot ' would have been perfect,
had the upper voice not triumphed too much in its power. In a
glee all should be of one mind and of one strength ; if any part
affects independence, or preponderates, the union is dissolved, the
charm is broken. Signor Lablache's ' Non piii andrai ' was quite
delightful : his was the happy medium between the tameness and
excessive vivacity with which an operatic air is sometimes sung in
an orchestra. The trio of Handel was admirably played by
Messrs. P. Cramer, Lindley, and Dragonetti. The 'Spartan
Glee,' as it is called — though we doubt whether Lycur^s would
have recognised it — is a curious and pleasing composition ; but
^he parties were not quite agreed : the three tenses, — the past,
present, and future, differed almost as much in the slee as they
do in the grammar. The second scena of Mozart only wanted a
little infusion of tenderness in parts of it, to be every thing that
could be wished. In nicety of execution and in correctness of
intonation, it is impossible to surpass Madlle. Grisi in this bra-
vura, but we have heard it sung with much more feeling; by
Mad. De Begnis, for instance. ' Gird on thy sword' was splen-
didly performed.

The selection from jicU and Galatea, excluding ' Love in her
eyes,' and * Heart, the seat of soft delight,' is not the best that
might have been made ; any part of this serenata, however, is
acceptable. In ' O ruddier than the cherry,* Mr. I^illips always
shows how thoroughly he understands the intention of both poet
and musician. After 'The flocks shall leave the mountains/
should have been placed Avison's concerto, ibr ' The many rend
the skies^' so immediately succeeding the trio, sounded like a
shout of triumph over poor Acia, whose brains had just beea
dashed out by the ' Monflter Polypheme*.'

Pergolesfs fine sacred song — his ' Sanctum et terribile,' set to
Engii»a words — introduced to the subscribers a new ainger, Mr.
. BaiM?, whose qualifications are of a very high order. So»e ten or
a doeen years ago he appeared, when a boy, at Vauxfaall; as an
extraordinary youthful violinist. He then went into Italy, where
he. has been studying singing, and sometimes performing, up to

• Seepage S8.

nearly the present period. His voice is a smooth, musical bary<»
tone ; his style is pure, if we may be allowed to judge from ms
present j^erformance, and we know that he is an excellent mu-
sician. Mr. Balfe appears to us to be destined to occupy an im-
portant station as a vocal performer.

Avison's concerto, which abounds in sweet melody, was executed
in a most appropriate manner, a manner peculiar to these concerts.
The madrigal of Morley always has charms for those whose tastes
have been formed in a good school, and remain unscphisticated.
In Mozart^s ma^ificent aria, ' LaVendetta,'— of which Rossini's*
' LaCalunnia' is so excellent an imitation — -Signer Lablache dis-
played all his power of voice, and bis judgment as a singer. A
very interesting concert ended well with the grand chorus firom

&IIIIS09I.

EIGHTH CONCERT, Wednesday, the 3d of June, under tiie diiection of LorA

Burghersh.

A€T I.
Introduction and Chorus ' Ye sons of Israel.*

R«"*- XnM, n,.i,..« (* O loss of sight.' I
Song, r '' ^^*^"' i*ToUl Eclipse.' I
Chonis, ' O first created beam/ • )

Recit. 1 ^. ir-.:»i.* l' And God said.*
g^^ I Mr. Knight, |, j^

(JMiio)

Gia lavittima.

splendour bright.* KCrea/ioii.}
Chorus, ' the Heavens are telling.' . J

^^^^' \ MU. To... / ' ^f I give thee honour.'
Song, J««*'»<T* V Let me wander.' {VJUtgro,)

Choras, * And young and old.'

Song, Sigr. Rnbini, * Panis omnipoteutia.' • • •

Chonis, ' Credo in unum.N

Quartet, ' Et iiicarnatus.' I • . • ,

Chorus, < Et resurrczit.' J

Act 11.

Overture. (Somfoii.) . . . .

Trio, < Protegga, O giusto cielo.' (// Don Gimfamn.) .

Song, Sigr. Rubini, ' A Te fr& tanti affanni; (Damde PtnUenlt') .

Duet, Mr. Phillips and Mr. Balfe, ' Tu rex glorue.'

Sonff, Mad. Malibran, < O salutaris hostia.' .

Madri^ral, (Full Choir.) < Flora gave me.' .

Preghiera, Miss Postans, ' Sommo Dio.* • • «

Quartet, * Ave verum.' .....

Kecit 1,^. «,;„.. j ' He measured the vaiem.' 1 , n . _^. ^

Bong, jM'- ^*"^^'P»' i * He layeth the beams.' JC^W^/""*".)

Quartet and Chorus, ' Then round about.' (Anntefi.) . .

Chorus, Hallelujah ! (JI/omi/ o/O/itwf.). .

Handkl*

HaNSBIm

JOMEU.!.

Hamukl.

MOZAKT.

MOXABT.

Hanbsx..

MOSABT.

MOXAKT.

Knbcbt.

CHKRinillX.

Wiunra.

WiNTBIU

Moxunr.

Hammu

Handbl.

Gluck.

bsbthovsn.

The Queen was present also at this concert, with whom came
the Duchess of Cambridge, Prince George, and a young Princess.
The frequent attendance of royalty at these performances, brings,
as a sure consequence a great addition of the nobility; and those
who take delight in moving in the same atmosphere with the
haute societe, have now, as in days of yore, abundant opportunity
of being gratified at the Ancient Concerts.

The introduction to Joshua, and chorus, were as perfect af
usual. Mr. Braham*s • Total Eclipse ' was what it always has
been: we could perceive no difference. Admirable as the
succeeding chorus is, and well as it is always executed here,
we cannot but wish that all the wind-instruments now in use
were added at the words, « and light was over all.* The effect of
this, with no accompaniment but of the violin kind, feebly aided
by a couple of oboes, is meagre in the extreme ; especially as we
now w»e accustomed to the glorious burst by which Haydn
presents the same image to the mind. We have always thought
that Handel let slip a grand opportunity, in not employing in this
chonis all the power he had at his command : he had trumpets,
trombones, and drums (the latter bad, certainly), and with such
strength he might have done what he left to be achieved by his
successor. Jomelli's graceful aria, never before heard in this
country, was moat delicately sung by Mrs. Bishop. After which
a new candidate for vocal fame, a gentleman of university educa*
tion, appeared, with a good prospect of success in his newiy
adopted profession. Mr. Knig^s voice is a powerful tenor, of
ample compass, and his manner is that which is feherallT
the result of a cultivated understanding. But he was ill advised
in the choice of the piece: he is not, at present, equal to
' In splendour bright;' and it was impossible not to institute
some comparison between the debutant and him wh6 had so
recently, and in so unrivalled a manner, sung it under the veiy
same roo£

Miss Lacy sang the lovely air from L' Allegro very sweetly.
The two moveaMitts, in such opposite styles, are a test of a
performer's ability, and she stood it most satisfactorily. The air

THE MUSICAL LIBRAKV.

from a mass of Mozart had been sun^ by Sig. Ivanoff, at the
Abbey Festival. It was now assigned to Sig. Rubini> whose
performance of it bore no comparison with that of the Scandi-
navian vocalist. The Credo, &c. which followed, was, in every
way, grand.

The charming overture to Samson is always, and will continue
to be, heard with pleasure. The same may be asserted of the
short terzetto from Don Giovanni. The air from Davidde
Penitente was performed at the late Festival in the Abbey,
^nd, though melodious, is not one of the best specimens of
the composer. Mad. Malibran is indebted to Lord Burghersh
for the two pieces allotted to her: the fine aria of Cherubini
exhibited all the best qualities of her voice; and the scena
from Gluck's Orfeo displayed her passionate style of singing
to the utmost advantage. It were to be wished that she would
refrain from the use of the shake, more particularly in the
lower part of her voice. This is now a iramontane orna-
ment at best, and hers is anything but perfect. The lovely
Madrigal was very effective. Miss Fostans, in Winter's solemn
and diarmiog Preghiera, proved that we need not seek foreign
climes for a rich contr'sdto voice. Her style, too, is diastcv
Mozart's movement, from his first mass, never is beard but with
delight, when so sung as on the present occasion. Mr. Phillips
gave the air from the Pasticcio oratorio. The Redemption^ in
a most noble manner. We, however, prefer this in its original
state : ^ Nasce al bosoo,' as introduced in the opera of Ezb,
is one of Handel's finest opera airs.

The Hallelujah from The Mount of Olives made a good
conclusion to an excellent performance, and terminated a most
successful season. The prosperous state of the Ancient Concert
must be a subject of congratulation to all real lovers of the art.
It was the nurse of music, and the school of English musicians,
at a time when aid was most needed, and is now me best bulwark
against the attacks which feeble Italian song, supported by the
least intellectual of the fashionable world, is daily and actively
making in all that is noble and worthy of preservation in the art.

PHILHARMONIC SOCIETY.

SEVENTH CONCERT, MONDAY, MAY 25.

Act L
Smfoaia in £ flat ..... Spohr.
Scena, Madame Caradori Allan, * Fern von ihm' . .CM. von Weber.

Pantauia Violcmcelb, M. Sbrvais, principal Violoncello to the la

King of the Belgians . . . . /Sbrvais.

Scena, Mr. Phillips, * Stolto me !* (Fatut) , . Spoor.

Overture, (^The JUidsummer Tii^kft Dream) . F. Mendelssohn Barthoijit.

Act n.
^nfiiniainlX . . . • . Beethoven.

IHietto, Madame Caradori Allan and M. Ivanhoff. < Tutto ap- lo

prendi,(Oi/i//«tfliKrciQ . . . *'JRossini.

Concerto Violin, in B minor, M. De Beriot . Dk Bkriot.

Aria, M. Ivanhoff, ' Vivi tu ' (^Jnna Bolena) . . Donkbtit.

Overture, (Fidif/Zo) ..... Bbethoven.

Leader, Mr. WEicHSBU—Conductor, Mr. H. R. Bishop.

A new performer, and the re-appearance of a deservedly
bvourite one, proved great excitements in the present concert.
We will first speak of the former, in doing which it will be found
that we differ much from some contemporaries, in whose opinions
we are generally inclined to concur.

M. Servais distinguished hinoself while an ^leve of the Con-
servatoire at Brussels, and is one of the very numerous foreign
musicians whom the present spring season has drawn to our
metropolis. Whether or not he expected to find London
Eldorado, we cannot say, though we are pretty sure that if
his expectations were san^ine on this point, he has by this time
felt no inconsiderable disappointment. The wealth of our
fashionable world is commonly lavished on a few favourite opera
singers: instrumentalists who visit o«r shoros remain compa-
ratively unnoticed; to have any diance of success, they sbeuld
add to whatever portion af talent they may possess, a large
quantity of charlatanerie, and give potency \o this by a liberal
quantity of indirect advertiseaaents.

M. Servais' tone is nasal, a defi^ rery craimon in ioragn
violoncellists, and his incessant sliding imparts a drawling,
whining effect to every bar of expression that he executes. H« is
Mabitioiis of mastering difficulties ; hence he attempts everything,
though he accomDlisbes hut little in a fimslied manner. His
arpeggios want cleame«, ids double stops are oonfused, and

in his bravura passages is moi*e of scufife than of that distinctness
which alone renders tours de force bearable. As some com-
pensation for this — and very redeeming the quality is— he
possesses great feeling. Were his portamento less redundant, we
should admit that his instrument sings more than that of most
players, in or out of England « His composition was an air with
variations, and so far below mediocrity that the directors ought, at
the rehearsal, either to have prevailed on him to make a
better choice, or to have declined his services. It is injurious to
all parties to be sqtieami^ on such occasions. I'he artist
himself suffers more than his hearers in being tacitly encouraged
to perform what managers, if they have any opinion, must know
will surely make an unfavourable impression on a well-judging
audience.

M. de Beriot, who has not been heard in this country since
1832, performed the concerto which, at the sixth I%iiharmonic
concert of that season, produced so striking an effect. We then
thought him the greatest of violin players, and his performance
now not only confirmed our former opinion, but convinced us of
the truth of a remark made by a very sagacious man, that, up to
a certain period of life — a period which De Beriot is far from '
having reached — an artist cannot stand still; he must either
improve or deteriorate. That M. De Beriot is not in the latter
predicament will by all be granted; it follows, therefore, if
the premises be admitted, that great as he was before, he ifi(
still greater at the present time. His concerto is a noble com->'
position, a work which, placed as it was between two of
Beethoven's finest productions, lost nothing by its position, but
was admired for its own sake, independently of the advantages it
derived from the little less than magic skill of the principal
performer.

Weber's scena was new to us ; we must hear it again before
we venture to pronounce any judgment on a work which seems to
have more in it than at first appears. Mad. Caradori did it full
justice. The scena of Spohr loses some of its effect off the stage,
but is a composition of great thought and true expression, and
was sung in a manner which proved that Mr. Phillips had
studied the words as well as the music. The merit of Rossini's
last opera, Guillaume Tell, is beginning to be felt. Such music
will b^ known and admired when the Bellinis* and Donizettis are
clean forgotten. It was very well sung; as was the eternal
'Vivi tu.' But why was the latter admitted into the programme?
Did not . the directors know that this has been hacknied on
the stage, and in every concert, public and private, ever since the
first performance of the opera, till the ear loathes it, notwith-
standing Sig. Ivanhpff's sweet voice and unaffected manner
of singing ?

The two symphonies were admirably executed. Spohr's gains
at each performance. That of Beethoven, a universal favourite,
needs no remark. Mendelssohn's overture, every bar of which
displays genius of the first order, and the not less imaginative
overture to Fidelio, were specimens of the capability of this
band. But the latter, fine as it is, considered as a composition, is
less appropriate to the drama than that at first composed to
the opera.

The Duke of Cambridge, one of the earliest patrons and
promoters of the Philharmonic Society, was present at this
performance, and expressed his delight in a very audible manner.

BnTUiiiJui.

EIGHTH CONCERT, MONDAY, JUNE 8.
Act I.

Sinfonia.Eroica ....•«

Duetto, Madlle. Grisi and Signor Rabini, ' Fuggi cnidele,* {Dom

Gutvamti') ••..••• MoiABT.

Double Quartetto, Foar Violins, Two Violas, and Two Violoncellos, i
Messrs. Mori, Tolbecque, Eliason, Watts, Moralt, Lyon, iondley, >Spobb«
andBousselot . . • • • .3

Alia, Bignor Rnbini, ' Di mia patria,* (Marino Pa&ero) • noMizsm.

Overture, {Let JMvx JaumSes) . • • CmtRUBiifx*

Act 11.

Symphonj, ^MS.) composed for the Philharmonic Society • C. Forrm*

Quartette, Maildle. Grisi, MrB.E. Seguio, Signor Rubini, and ^^HT^'Ibbluni.

Lablaehe (/ Arritoni) • . • . /

Cflpcf rto (MS.) Piano'forte, in D minor, composed tat and dedicated !„ ff^ py ,
^ the Philharmonic Society, ^first timeV>f performance) • J

Aria, Signor Lablache, * Ah ! vmdicar potr6 (fbMia} . BsvnioYSN.

Ov^tiure, (Die Zamberfloie) . . . • Moza&t.

Leader, Mr. Looks. — Conductor, Mx. Pottbb.

The Heroic symphony was, upon the whole, ably executed^
but some inaccuracies were discernible, arising from a neglect at
the rehearsal, which was passed over without notice, boding

THE MUSICAL LIBRARY.

the ill that happened at the hour of performance. And for this,
who is responsible, the leader or conductor ? The powers of the
two seem to have been sometimes equally divided here, since the
introduction of the desk and baton, and the band have not
always known in whom the authority was vested, — how to
distinguish the true Coryphaeus. Mr. Potters very clever
symphony, performed for the first time two years ago, and
as justly applauded then as on the present occasion, went off
exceedingly well. This is a composition that will be more
duly appreciated hereafter. The melodious and ingenious over-
ture of Cherubini, and the chef-d'ceuvre of Mozart, were both
executed with the utmost spirit, and in a most perfect manner.

The energy of Madlle. Grisi, in the duet, was strikingly in
contrast with Sig. Rubini*s apparent coolness. An outbreak
every now and then apprised us that he was at times in earnest;
but for the most part he seemed to be rehearsing, not performing.
Of the aria from Marino Faliero and the polacca, alias quar-
tetto, from 1 Puritani, both of which have been hawked about
everywhere, and worn threadbare this season, we will only say,
that their introduction at this concert reflects the highest dis-
credit on the directors, and proves either a neglect of duty, or an
incapacity to perform it.

The aria from Fiddio, in a separated state, has nothing
whatever to recommend it : and it was clear that Sig. Lablache
did not at all understand his author. How should he? It
was not rehearsed, and he only received the part on the day
of performance !

The double quartet, the first movement whereof was, we think
judiciously, omitted, was executed with great delicacy. How
much the effect of this would have been improved, had the second
base part been assigned to a contrabasso, — to Dragonetti ! It
did not, we presume, follow as a matter of absolute necessity,
that, because M. Herz dedicated to the Philharmonic Society
a new concerto, he had also a right to demand from the body
a public hearing of it. He certainly had some claim, but a con-
ditional one; and here we are again obliged to condemn the
directors for not declining a composition so ill calculated for
such a concert. The first. movement, we will confess, inspired us
with some hope of a favourable continuance ; but the second, —
a reiteration of runs up and down what is called the Scottish
scale — and the third, the most frivolous, Sadler's-Wells-like
collection of noises we ever had the ill fortune to hear, convinced
us that the composer had more correctly estimated the judgment
of the managers, than the taste of the audience.

ROYAL ACADEMY OF MUSIC.

On Saturday, the 20th of last month, the pupils of this institu-
tion had their last public Morning Concert for the season, at the
Hanover-square Rooms. Much talent, both vocal and instru-
mental, was exhibited, and some excellent music of the great
modem masters was performed in a very satisfactory manner.
But the most interesting part of the Concert, and that which drew
together a crowd of connoisseurs, both professional and otherwise,
was the vocal portion of the symphony by Beethoven, — his ninth,
— written for the Philharmonic Society, and produced some years
ago at one of their concerts, in an entire state, but not since re-

Kated, partly on account of its extraordinary length, and also
cause the Philharmonic band so completely fills the orchestra,
that no space is left for a chorus. The pupils of the Royal
Academy, being equally divided into instrumental and vocal, and
not altogether too numerous for the orchestra, the managing
committee, with laudable spirit, resolved to try the choral part of
what some few think the greatest of Beethoven's works, and the
attempt succeeded beyond expectation. The words — part of
Schiller's Ode to Joy — translated into English verse for this oc-
casion, by John Oxenford, Esq., were admirably adapted, both
as regards sense and measure, to the music, rendering any altera-
tion in the latter unnecessary.

We can only find room for the mention of one other work —
Beethoven's lovely quintet in E flat, for piano-forte, oboe, clarinet,
horn, and violoncello, performed by Messrs. Johnson (a pupil of
J. B. Cramer), G. Cooke, Bowley, Phillips, and Hopgood. Not
merely the accuracy, but the very superior taste, the feeling, with
which this was executed, made a strong impression on the au-
dience, and reflected the highest credit on the youthful artists, on
their instructors^ and on the system pursued at the Institution.

BENEFIT CONCERTS.

Mr. Cipriani Potter's, Concert Room, King's Tlieatre,
, Tuesday Morning, May 26th.

At this concert Mr. Potter produced part of a new symphony, in
c minor, just enough to make us wish to hear the remainder. His
concertante, on the Follia d'Espagna, played by himself, Messrs.
Mori, Lindley, and Dragonetti, a composition suited to almost
every taste, being no less pleasing than scientific, produced, as it
always does, very great effect. In addition to a full band, led by
Mr. F. Cramer, Mt. Potter engaged the services of Mad. Mah-
bran, Madlle. Grisi, Miss Masson, Si^nors Rubini, Lablache,
&c. &c. The room was extremely well filled, and among the
company we observed most of the patrons and patronesses of the
Royal Academy of Music.

Mr. and Mrs. Stockhausen's, Concert Room, King's Theatre,
Tuesday morning, June 19th.

That Madame Stockhausen is, most deservedly, a great favourite
with the public, is shown not only by the applause she receives,
but by the full and respectable attendance at her annual concert*
She, however, always provides liberally for her friends, and on
the present occasion held out the additional attraction of Mad. *
Malibran, Madlle. Grisi, Si^nori Rubini, IvanoflT, Lablache,
Tamburini, &c. together with Mrs. Anderson, M. de Beriot, &c.
Mad. Stockhausen displayed the flexibility of her voice and neat-
ness of execution, in a Spanish song with variations, by M.
Panny ; and her simple style in a new Swiss air, composed by M.
Stockhausen. The Grisi and the Malibran had each her parti-
zans in the room, and both were, as a consequence, encored in
their respective pieces, which were but of a feeble kind. A new
symphony for nine harps, and two of every instrument, was pro-
duced by M. Stockhausen. There are some clever points in it,
but as a whole it is much too long. The harp never tells well
when mixed with other instruments ; and a plurality of harps is
wholly inefiective.

Miss Lacy's, at the mansion of the Countess of Lonsdale, Mon-
day evening, June 22nd.

The more we hear Miss Lacy, the more convinced are we that,
with experience and the confidence arising out of it, she will be
ranked as a first-rate singer. The difference even now perceptible
between her performance a few weeks since, and that on the pre-
sent occasion, was of a most marked kind. Her duet with Rubini,
' Ah ! mio Arturo,' and her air from Robert le Diable, were both
excellent, and most justly admired. Madlle. Grisi, Mad. Degli
Antonj, Signori Rubini, Tamburini, Puzzi, Mr. Balfe, Mr. Mori,
&c., aided Miss Lacy by their talents ; and her concert was at-
tended by a numerous and very fashionable audience.

SiGNOR Puzzi's, at the Countess Cornwallis's mansion, Wednes-
day evening, June 24th.

Signer Puzzi assembled nearly every vocalist of name now in
London, and to these added Messrs. De Beriot, Herz, and Bene-
dict ; the latter, ' Pianiste de la Cour de Naples,' a remarkably
brilliant performer. The concert was highly interesting, from
the number, variety, and reputation of persons engaged in it ;
and the company assembled consisted chiefly of those constituting
what is called the beau monde.

Mr. E. TAYLOR'S LECTURES ON ENGLISH VOCAL

HARMONY.

During the last few weeks, Mr. Taylor gave, at the Royal In-
stitution, a course of six lectures on vocal part-music ; that is, on
the madrigals and glees of our native composers, including a
few specimens of early Italian and Flemish writers. These lec-
tures exhibited considerable research, a full knowledge of the
subject, great decision of opinion, an intrepid vindication of Eng-
lish composers, a warm and deserved panegyric on many of
them, and some bold and biting remarks on the tendency of
fashion in this country to despise and neglect its native musical
produce, and to lend a willing ear only to the productions of the
newest and weakest of foreign composers.

THE MUSICAL LIBRARY.

The greater portion of the time allotted to each lecture was, as
may be supposed, devoted to the specimens given of various com-
posers, and in these Mr. Taylor was assisted by many able and
well-known vocal performers, who exerted themselves in a man-
ner that must have been as satisfactory to the lecturer as it was
agreeable to an elegant and numerous audience.

We would gladly enter at large into each of these interesting
lectures, did our space admit ; but limited as we are, we can only
afford room for Mr. Taylor's syllabus ; to which we add a list of
the pieces given in illustration of the historical and critical re-
marks which formed the subject-matter of his lectures.

^ Lecture I. — Introduction — State of musical science in EngLmd pre-
vious to the Reformation — Its improvement in Italy under Palestrina
and his successors — Madrigal writing cultivated in Flanders — State of
Music in Antwerp — Derivation of the word " Madrigal" — Distinction
between Madrigal and GJce- writing.

• Alas ! for lack of her presence * . - - Fayrfax 1 500

• Quando del tergo cielo ' - - - - Paleslrina 1560
' Quando ritravo la mia pastorella ' - - Festa 1541
Madrigal, * Dissi all' amata mia* - - Lrica Marenzio 1575
Do. • Ye nightingales' - - - Orlando di Lasso 1580

Lecture II. — Taliis, Tye, and Farrant, the precursors of the
English Madrigal writers.— ^Byrde the first of these. — Miisica Transal-
pi//a-— English Vocal Harmony in the reign of Elizabeth — General
diffusion of the taste for Madrigal writing and singina; — Biographical
and critical notices of the most eminent Composers of that time. Gib-
bons, Wilbye, Morley and Weelkes — their consummate excellence ' in
the construction of Vocal parUmusic — the study and practice of their
works recommended — The Triumphs ofOriana — Reign of James I. —
Decline of musical taste — Madrigals superseded by Catches and Rounds
— Freemen's Songs.

• In going to my lonely bed ' J* - - - Taliis 1570
Madrigal, * Cynthia, thy song and chaunting' - Gio, Croce 1.560
Do. * Fire! Fire !» - - . - Morley 1597
Do. • Sweet honey-sucking bees ' - - JVilbye 1608
Do. •AsV^stawas' ... - Weelkrs 1601
Do. * All creatures now * - - - Bennet 1601
Do. * Die not, fond man' - - - . fVard 1608

Lecture III.— May 14. Reign of Charles I.— Henry and William
Lawes and their contemporaries — Glee^ when and how first used to ex-
press any vocal composition — its derivation — Purcell — estimate of his
cliaracter as a Musician — State of Music in England at the close of the
17th Century — Establishment of public Concerts — Revival of Vocal
Harmony— Academy of Ancient Music — Madrigal Society — ^Travers —
Association of Vocal Harmony with classical English Poetry.

Madrigal, ' O that the learned Poets* - - O. Gibbons 1612

Do. ' Since first I saw your face ' - - Ford 1620

Glee, « Call the Spring ' - ... IL Lawes 1653

Do.. * Gather your rose-buds ' , - - }y, Lawes 1653

Do. * From the fair Lavinian shore ' - Dr. Wilson 1667

Catch, • Hold thy peace ' (introduced in Twelfth Night)
Round, * Hark ! the bonny Christ*church

bells' Dr.Aldrich

Glee, • Hail, British Isle! » - . - Dr. Greene 1730

Canzonet, * Soft Cupid' Travers 1740

Lecture IV. — Glee-writing peculiar to England — the training of
Italian Singers unfavourable to tnis class of vocal Music — Dr. Arne —
The Catch Club— Lord Mornington — Glee-singing a prevalent amuse-
ment at this period — Battishill — Dr. Nares — Dr. Arnold, the first Pre-
sident of tlie Glee Club — Webbe— ^Estimate of his talents and character.

Glee, 'Sweet Muse* - - . 1 Dr. Arne 1760

Do. 'O bird of eve* - . - Earl of Mornington 1774

Do. * Ye birds for whom I reared this grove ' Battishill

Do. • Fear no more the heat of the sun ' Dr. Nares

Do. * In summer's cool shade ' ' - - Dr. Arnold

Do. * Swiftly from the mountain's brow ' fVebbe 1788

Do. • When winds breathe soft * - - Do,

Catch, ' Would you know my Celia's charms' Do.

Lecture V. — Elegies — Linley — Jackson of Exeter — J. S. Smith —
Shield — Dr. Cooke — Dr. Callcott — his extraordinary industry as a Glee-
writer — his character.

Madrigal, ' Let me, careless ' . - - Linley (sen.)
Elegy, • In a vale clos'd with woodlands * Jackson (of Exeter)
Glee, ' Blest pair of syrens' - - J, S. Smith 1775

Do. * Hark ! the Lark ' - - -Dr. Cooke

Do. • O snatch me swift' - - -Dr. Callcott

Lecture VI. — Concen tores Sodales — R. J. S. Stevens — Accompanied
Glees — SpofTorlh — Glee-writers of the present day — Examination of
the claims of English Vocal Harmony to public attention — ^Glee and

Madrigal writing cultivated by most of the great English Composers,
yet neglected by the public — Reasons which have operated to effect
this — Decline of tlie Italian School of Vocal composition — the Vocal
Society ; its endeavour to revive the taste for Classical JMusic — (7o/t-
clusion.

Trio,

Glee,

Do.

^ O strike the harp in praise of Bragela ' Stevens

* Come, bounteous May ' - - Spoffhrih
' By Celia's arbour * - - - Horsley

* In this fair vale * ... Attwood

* There is beauty * ... Goss

* When wearied wretches ' - - Bishop

1792

REVIEW.

J. B. Cramer's Studio per ii. Piano-Forte, a series o/ Exercises in
all the major and minor keys, Sfc.^ Sfc. A New and Enlarged Edi"
tion, with considfvable Jmprovemenh^ revised and corrected by the
Author. Li two volumes. (Cramer, Addison, and Beale; and

Chappell.)

It is now nearly thirty years since Mr. Cramer published the first
edition of his Studio, a' work which, we may venture to assert, without
much fear of contradiction, has contributed more to the making of good,
solid piano-forte players of a superior order, than any that had before or
has since appeared. Notwithstanding its extent and consequent expense,
it has gone through several editions here, and has been reprinted in
many of the capitals of Europe : every conscientious master, who could
enter into its spirit, has recommended it to his advanced pupils, and we
never yet have heard of any diversity of opinion as to its various merits,
among which its great utility — vouched for by all experienced persons-
stands conspicuous.

At the very moment of retiring from his profession, at least as a
master, and on the eve, we regret to say, of quitting the country jof his
adoption, in which he has resided nearly the whole of his life,
Mr. Cramer bids a kind of farewell in a new and much augmented
edition of his most useful and matchless work. This he has enriched by
a ^t\y prefatory remarks, which, considered as the result of his ex*
perience in a condensed form, are invaluable to those who cultivate the
art in a rational way, who devote their leisure to it as a means of
deriving from it the most refined and innocent gratification, and whose
good sense dictates to them that to please rather than to astonish is the
reasonable object of music, considered as a social art, and that alone at
which it ought to aim.

Each volume contains fifty exercises. In the first, numbers 10, 14,
16, 25, 26, 35, and 36, are new ; as also are numbers 5, 6, 18, 14, 21,
30, 41, and 49, in the second. Of these, several equal in beauty the
best of those in the original work, and present to the student passages
and modes of fingering which may be said to have been created since
the appearance of the first edition. But Mr. Cramer has not degraded
his pages by any of those absurdities of modern birth which, happily,
are as ephemeral as they are childish. Another addition, of the utmost
importance, is now likewise made, by affixing to each exercise the
metronomic time ; that is, the degree of quickness or slowness. That
this practice should not yet have become general is only another proof
of the backwardness of the musical profession in adopting improvements
of the most obvious and undeniable kind.

The two pages of * Prefatory Observations,' are highly worthy the
notice not only of students but of masters : few indeed will peruse them
attentively without feeling that their stock of practical knowledge has
received a very considerable increase. What is said of touchy cannot be
too carefully read. ' No one,' the author pronounces, * will excel as a
performer on the piano-forte without a good touch, to acquire which»
students must cultivate a legato style of performance, whereby the in-
ability of sustaining sounds on the piano-forte is materially obviated.
This style, it is scarcely necessary to add, is efifected rather by pressing
the keys with the fingers^ than by striking them, and by holding down
each note its full proportion of time.' Further on he observes, — * a just
medium of tone should be usually employed, in order to give effect to
the marks forte and piano^ [to give effect to the fortes and pianos'\ in
their various degrees ; otherwise the powerful contrast of light and
shade will be destroyed. Generally, a good effect may be produced by
increasing the tone in ascending passages, and diminishing it in
descending passages.' Of the most difficult of his exercises, he says,
* they should be performed with as much apparent facility as the easiest;
for the character and expression of a composition cannot be preserved
while the performer plays with the slightest [distinguishable] effort.
Mechanical difficulties are to be valued only in proportion as the art is
assisted by them In effecting its purpose of moving the passions and af-
fections of the mind.' Let tliis maxim sink deep into the breasts of all
who cultivate music as beings endowed with reason ought to cultivate
it, — as a relief from care, as a source of enjoyment, at every period of
life. Further on it is sensibly remarked, that * an expressive style of
performance cannot be attained by the servile observance of the minute
parts of a composition. The performer must acquire the habit of ob-

THE MUSICAL LIBRARY.

serving the character of the whole piece, and of giving its effect according
to the impulse of his own feelings. Such a performer, though defective
in power of execution, will always afford pleasure to the listener.'

We hope that the following advice may not he entirely thrown away.
It ought to be printed in large characters, and suspended in every room
of the Royal Academy of Music ; in which institution, we are happy to
find that an increased and increasing study of classical music, ancient
and modem, is, in every department, apparent. ' If musicians have a
desire to exalt their art, and to procure for it the protection and esteem
of a learned and enlightened public, let them promote, by every means
in their power, the cultivation of the works of the great masters, —
Handel, Haydn, Mozart, Beethoven, Weber, Hummel, &c. — composers
who have not thought it sufficient merely to captivate the ear, but have
endeavoured to elevate the mind and satisfy the judgment, by grandeur
of sentiment and dignity of expression.' The author, further on, pur-
sues the same subject. • It is not unreasonable,' he observes, * to sup-
pose that our hereditary acquaintance with, and the frequent perform-
ances of, Handel's works, have, in this country, offered an effectual
resistance to the evil influence of the florid and vitiated style of the
modem Italian school, which has been so unfortunately and perniciously
diffused over the whole continent ; for nowhere are HandeFs works so
well understood, and so well performed, as in England.' To this Mr.
Cramer adds, in a note, — ' At the beginning of the century, the author,
in bis visit to Vienna, met with Haydn, Cherubini, Weber, Albrechts-
berger, Woelfl, and Hummel ; and had the satisfaction of accompany-
ing Beethoven to the opera, to hear Mozart's Don Giovauni, Vienna
sow offers no better entertainment to the musician than operas by imi-
tators of Rossini, and waltzes by John Straus I '

We dwell with pleasure on opinions like these ; they are founded on
philosophical principles, and sanctioned by experience : they are such as
we have always inculcated, however feebly, whenever we have taken up
our pen in defence of legitimate art, and directed our humble efforts
against the influence of false taste. Coming now from so high an au-
thority, they will, doubtless, have tenfold weight ; and great as is, in our
estimation, the merit of these Exercises, unrivalled as in every way they
are, we consider the remarks by which the author has introduced them,
as not less valuable than the compositions by which his brief but golden
^ecepts are exemplified.

MARINO FALIERO,

A Tragic Ofera, in three AcU, composed by Sio. Maestro Donizetti.
(Mori and Lavenu, New Bond Street,)

1. Aria, ^ Era anch' lo.'

2. Recitativo, ^ Odo il sumi di chi spreisa,' and Aria, ' II palcoe a noi

trionfo.'
8. Barcarolla, ' Or die in cielc*

4. Duetto, * Tu non sai la nave ^ presto.'

5. Aria, * Bello ardir d'un congiurato/

6. Recit. ' Faliero, oh di mie pene !' and Aria, ' Di vergogna avvampo

ed ardo.'

7. Regit. 'Israele, che viioi V and Duarro, ' Se pur giunge.'

8. Regit. ' Notte d 'orrore,' and Aria, ' lo ti veggio or vegli e trena.'

9. Regit. • Tutto or marte,' and Aria, • Dio clemente 1*

10. Regit. ' Nd, nd, d 'abbandonarla,' and Aria, * Di mia patria o bel

soggiomo.'

No. 1, an aria in a lat, in two movements, is smooth and in-
offensive.

No. 2 is a pleasing but common air, in nine-eight time, sung by a
conspirator on receiving notice of his condemnation ; and really the
music is more suited to an epithalamium than to a march to death.

No. S, sung by the sweet voice of Ivanoff, and in his comparatively
simple manner, excites some applause, but considered as music this is
destitute of a new thought, and extremely feeble.

The larghetto of No. 4, * Questo brando,' is a gentle, pretty move-
ment ; that which follows, with a tut, tut^ tut accompaniment, is almost
copied from not one but many things of the same kind, by Rossini.

m. 5 is dramatic, and effective in the hands of Lablache. The first
motivo is good: the rest depends solely on the performer, on action, for
effect.

In No. 6, Elena, the young wife of Faliero, reveals to him, as he is
preparing to die, her infidelity. An opportunity was here afforded the
composer of showing some power in the recitative, had he possessed
any, but out of good materials he has produced nothing. The duettino,
* Santa voce al cor mi suona,' where the husband pronounces forgive-
ness, is an easy, graceful, short larghetto, and will always please.

No. 7m is the best composition, except a chorus, in the opera. The
first movement has a claim to the merit of originality ; the larghetto is
pleasing, and tlie rest is spirited, though like numberless other things of
the kind.

The composer has, in tlie recitative, No. 8, failed from want of mind,
as in No. 6 ; but the slow air, in £ flat minor, is very expressive, and
not so common as most other parts of the opera. The quick movement.

too, ' Mi tornano,' is bold, and skilfitlly written, though too ranting at
the close.

The preghiera of No. 9 is by far the best part of the scena. The
movement, in e, where Elena declares that the remainder of lier life
must be passed with two spectres, — i. e. those of her dead husband and
her gallant, — ^might, but for the words, — and how few at an opera under-
stand these I — be supposed to express very calm feelings. Such is, too
often, the hostility carried on between sense and sound in modem Italian
music !

The caatabile movement of No. 10 is an elegant melody ; the re-
mainder of the scene nothuig but a rifacmento of Rossini's reiterated
passages.

The pezzi concertati^ or concerted pieces, in Marino Faliero^ in-
cluding the choruses, are not published ; the best portion of the opera,
therefore, is not in print ; and it would not pay the expense of en-
graving, were any publisher bold enough to speculate on the, probability
of an indemnifying sale.

' ■■ - t

A Second Covcekto for the Piano-forte^ Gomposed by W. Stsrndal&
Bennett, Student of the Royal Academy ofMu$ic. (Cocks & Co.)

This composition has worked its own way. First it was performed at
one of the Academy concerts, and there it may be supposed that it was
intrdduced more as an encouragement to a clever pupil, than on account
of its intrinsic merit The author was then invited to play it at one of
the meetings of the Society of British Musicians, and that it shone
brightly amidst so much dimness, is in its praise, certainly, though it
does not speak very forcibly. But when the youthful composer was
appointed to perform it at a Philharmonic Concert, there could no longer
exist any doubt of the recommendable qualities of the music, or of him
who was in so flattering a manner called upon to execute it.

This work is in three movements ; — an allegro in b> fiat, three-four
time, an adagio in b flat, common time, and a finale, vivace, six quavers
in the bar. The prime quality of the (composition is what we will call
its originality, not meaning to signify that every part is absolutely new,
bui that the general design and the motivi are novel in character. There
is a boldness in the second movement which indkrates a genius not easily
to be repressed. The first and last movements are both very spirited
and consistent ; there is no appearance of patch-work in either ; no
hammering out, bar by bar, but the plan of each seems to have been
digested before recourse was had to pen and paper. Many of the pas-
sages are brilliant and striking ; some display considerable taste ; but
taste, generally speaking, is the offspring of feeling, nursed by expe«
rienoe, and time is required for its perfect developement.

It would be unjust to say that the present composition promises
much,— it already does exhibit great talent, more than is commonly met
with under names of some eminence. But it leads us to expect muck
more. Nevertheless, we caution the ingenious young composer to
be slow, at present, in publishing: he may be as prodigal as he pleases
of manuscript ; but let him only print what he will be proud to acknow-
ledge ten or fifteen years hence.

Symphony in F minor, performed at the first 'British Concert^ 1834,
arranged for Two Performers on one Piano- Forte, by the com^
poser, G. A. Magfarren, Member of the Royal Academy of Mvsic^
(Cramer, Addison, and Beale.)

A work of this kind must be viewed either as the production of a ma-
tured composer, or as the essay of a less experienced one. In Uia
former case the critic is bound to judge it according to its positive
merits \ in the latter, it is just that he should consider it relatively.

As tills is, we believe, Mr. Macfarren's first attempt at a composition
of such magnitude, and as we know that he was very recently a pupil of
the Academy of Music, therefore youthful and but little practised in so
important a branch of the art, he will not, we are willing^ to suppose,
feel mortified if we class him with aspirants^ with those whose abilities
time has not yet fully developed, and pronounce our opinion of his sym*
phony accordingly. First, however, we must state, that we know no-
thing of hfc work but from the present arrangement ; we have neither
heard it performed by a band, nor seen the score ; there may be, conse-
quently, much in it not to be perceived or guessed at in the form it now
assumes, passages suited only to particular instruments, and effects only
to be expressed by a combination of all. Making these due allowances,
we have no hesitation in saying that this symphony is very creditable to
the author ; that it proves him to be capable of much now, and holds out
a flattering prospect for the future : it shows that to talent he has added
industry, and that he unites with both an enterprising but not unbe-
coming spirit.

This work is in four movements : — the first a brilliant allegro in six*
four time ; the second a melodious andante in c, four quavers in tha
bar ; the third a minuet in a flat, with a clever trio in b ; and the fourth
a finale, molto vivace^ two-minim time, in p minor, on a good subject*
and worked in a skilful, animated manner. As a piano-forte duet it is
far firom difficult for the performers, whose convenience has been con*
suited, but not too much at the expense of the composition.

THE MUSICAL LIBRARY.

FOREIGN MUSICAL REPORT.*

VIENNA.

Robert le Diable has been produced with entirely new decorations at
the JosephstUdt Theatre. Great praise is due to every one for the
general good effect; to the stage directors for the scenery; to the
orchestra for their correctness ; to the actors for their exertions, parti-
cularly to Mad. Kraus Wranitzky; but on the whole it was not
produced in the same magnificent style as at the Hofapfem Theatre.

On the 24th of February the first of our Concerts Spiriiuels took
place. We are sorry to say, that it did not altogether answer the high
expectations which had been raised. The Austrian National Hymn
(arranged by Castelli as a Grief and Hope song, Haydn's air having
been transposed into the Minor for the two melancholy stanzas, and
again restored to its original form for the stanza in honour of Fer-
dinandt) did not produce the effect which the popular and feeling poem
seemed to demand. The fault lay with the execution. When vx)rd8 are
intended to produce an effect, toorda should be distinctly heard, but on
this occasion even the music weht wrong to such a degree, as to cause
audible signs of disapprobation on the part of the audience. Then
followed one of Beethoven's symphonies ; but the performance was
destitute of the fire and correctness which formerly distinguished these
concerts. Allegri's Miserere, a noble composition, had not been practised
enough, the chorists seemed to float over the surface of the music with-
out understanding its depth. Thalberg played a Concerto by Beethoven,
on the piano, with his usual tenderness, but the instrument itself appeared
weak, and had it been a little better in tune^ no harm would have been
done. Even the concluding piece, Cherubini's splendid Litany, produced
but little effect, owing to the utter deficiency of light and shade in the
execution.

The second Concert took place on the 26th of February, and not
only restored the Union's fame, but greatly increased it. Beethoven's
symphony in C minor, one of the greatest (if not the very greatest)
creations of that stupendous geniue. was played with an exactness we had
never before heard. The public were transported, and at some passages
burst out into thunders of applause ; the andante was encored. This was
followed by " Beethoven's Tomb," a poem by Jeitteles, to which Seyfried
bad adapted Beethoven's Marcia funebre sulla morte rf* vn eroe, for
a chorus and orchestra. Tlie words were good, aad the music extremely
touching, indeed rendered doubly so, by this being the anniversary of
Beethoven's death. Beethoven's music to Egmont concluded the whole,
Mosengeil's ehicidatory poem being recited by M. Holter.

Mile. Francilla Pixis, after having been heard with the greatest
applause in several private circles, has performed two principal charac-
ters at the Hofapfem Theatre ; Romeo in Vaccai's Romeo e Giutietta,
and Rosina in Rossini's Barber of Seville. As we are no great
admirers of what she sung (particularly Vaccai's music) when we con-
sider how she sung, we feel we ought to do her justice. She has a fine
alto voice, and sings with extraordinary taste and feeling. Her appear-
ance has not produced a great effect, but we think that may be attributed
to her having been surrounded by strangers, who did not always accord
with her ; and perhaps, in some measure, to the accompaniment by the
orchestra. Mile. Pixis may be called one of the most expressive singers
in every species of song ; nay, we hesitate not to say that many an over*-
praised prima donna might take some useful hints from this young and
unassuming girl.

On the 29th of March M. Tedesco, from Prague, gave a concert in
the Union's Hall. He is very young, but displayed, by his performance
of the first movement of one of Mozart's concertos, of some variations by
Hey, and of an impromptu founded on a movement in Robert^ consider-
able talent for the pianoforte. He was twice called for at the end of every
piece ; but this is no sign of approbation ; it has become, at our concerts,
quite a matter of course. We may however add, as a more important
fact, that the young artist was heard with great pleasure by the
Cognoscenti.

The third Concert Spirituel took place on the 3 1st of March.
Mozart's charming symphony in £, was played with great precision.
Then followed an offertorixim by the too-short- lived Worczizek, which,
for dignity and chaste simplicity, may be enumerated among the best
church compositions. An instrumental fugue by Mozart, played with all
the requisite fire, gave such extraordinary satisfaction, that the audience
called for a repetition, which was granted. The concert concluded with
Beethoven's cantata jDer Glorreiche Avgenblick (the Glorious Moment).
This composition is certainly good, but we cannot help regarding it as
one of the most superficial of the great master's compositions.

DRESDEN.
(Our readers must not be astonished at this Report treating of matters

■■ — — — ■ ■ ' I I ■!■ ■ I

* Before we proceed in this atlicle, we bej; leave to refer to an error in our last
Paris Keport. Our foreign resources informed us, that / Pmitom di Scoxia Vas
founded on Oid Moria/ity, but siuce the introduction of that opf ra on our own Italian
stage (which was Bubsequent to the printing of our last Number) we have discovered
that the plot has nothing in common uith Sir Walter's nuvel. What occasioned the
foreigners' to make so flagrant a mistake we know not, but we thought proper to men-
tion it, lest oui readers might attribute the blunder to our own carelessness^— Bditor.

t Vide p. 40 of thii toI. for Haydn*i air as alteiedy togethe* with a translatioB
of Castelli'i wordf.

earlier than those recorded in our last; the fact is, we have lately
received full accounts of prior transactions, and could not resist inserting
them. — Editor.)

M. Kolte« Kammermtmkus and first clarionet player of the Koyal
Chapel, gave an Academia on the 9th of February. The following is a
list of the pieces performed. The Overture from Reissiger^s Felsenmuhle
(the Mill on the Rocks), one of this composer's happiest productions.
A Concertino for the Clarionet, by PTeber^ admirably played by the
giver of the concert. Gothes Erlkonig, composed by Schubert, sung by
Mile. Schneider ; this e^c eel lent composition is well known ; the execution
was good, though somewhat cold. A Duet from Poet's Sargino,
properly for a soprano and tenor, but sung by Mesdames Schneider and
Yeltheim ; why, we do not know, as two tenors subsequently made their
appearance. Part II. One of Chopin* s Concertos for the Piano^
played by M. Eisert. The execution of this extremely difficult concerto
was as brilliant and correct as we could expect even from that genuine
performer, M. Eisert. The audience rewarded him with the applause he
so justly merited. A vocal piece for male voices (we suspect by
Schubert) pleasing, and well sung. Variations for the Clarionet and
Pianoforte by fVeber^ not altogether in the present taste, but beautifully
played by both artistes. A Sextet from Mozart's Coslfan tuili, suitable
for the stage alone, and consequently producing no great effect in the
concert-room. A Schlummerlied (sleep sonff or lixWhhy) for the Harmo-
nichord and Clarionet, played by M.M. Kotte and Kaufmann. Un-
fortunately the harmonichord was not quite in tune, and even if it had
been, this instrument (though very well in its way) is but little adapted
for the orchestra, its tone being too heterogeneous to harmonize with the
instruments constantly in use.

On the ISth of February we had a concert in the Hof Theater, fot
the benefit of the poor. Beethoven's Overture to Egmont — who does
not know and admire this masterly composition ? An aria from Mo-
zart's Tito, sung by Mad. Schroder Devrient. This also is too well
known to need remark ; however, there appeared to us something not
altogether harmonious in the execution. Schiller's Song of the Bell^
recited by Mad. Rettich and M. Pauli, with a musical accompaniment
(we grieve to'say) by Lindpaintner. It was admirably recited ; but the
music was altogether a misconception. Often did we desire to hear
Mad. Rettich*s beautiful voice when it was too frequently drowned by
the music, and the noble words were unheard. Can our composers
never learn the difference between lyric-and didactic poems, such as the
Bell ? There are not above half-a-dozen lyrical passages in the whole
poem, yet the music was perpetually obtruding itself. Tiie finale
to the first act of Tito, admirably performed. Part II. A duet from
Rossini*s Semiramis, sung by Mad. Schroder Devrient and Madlle.
Schneider. Certainly, among the Italians of the present day, Rossini
is a diamond of the first water. A septet by Beethoven, played by
MM. RoIIa, Pohland, Kummer, Schmerbitz, Kotte, Haase, and Lorenz»
in beautiful style. Finale to the second act of Don Giovanni. The
introductory fugue of this fine composition was unfortunately spoiled by
the chorus mistaking their time.

The annual oratorio for the benefit of the widows and orphans of the
members of the Royal Musical Chapel took place on Palm Sunday (the
12th of April). Handel's Jephtha was selected for the occasion. Against
the execution of this oratorio no objection could be made ; we only re-
gret the selection, as Jephtha is certainly not Handel's chefdmuvre^
Beethoven's symphony in f major concluded the whole. This is a noble
composition, and the execution, which is extremely difficult, was ad-
mirable.

MENTZ.

The celebrated flutist, Dressier, announced a concert The whole of the
musical world were desirous of supporting him ; the subscription list
was filled. When the public were preparing for the theatre, notice waa
given that Dressier was unwell. Four days afterwards he was buried.
The concert was subsequently given by his widow and five orphan chil-
dren, and was, as may naturally be supposed, well attended.

COLOGNE.

M. StoU, the guitar player from Vienna, has made his appearance before
our public, and shown such skill in the management of his instrument,
that we could not help regretting his having wasted so much pains on
one so thankless. M. Buschmann, from Berlin, has performed on a new
instrument called the Terpodion ; his skill is not equal to that of M. Stoll.

TREVES.

A young man, from Cologne, named Bosen, has played a concerto on
the violin, and thereby so astonished the public, that Uiey want to rank
him with Paganini.

MUNICH.

Two subscription concerts have been given in the Roval Odeon. Tlie
last was distinguished by the fine performance of M. Artdt, violinist to
the King of Belgium, At the first we heard the overture to Chelard's
Hermanns schlacht *, the opera which has been so long announced.

* That is Hermann's J!ff At. It means the hattle in which the old Gennans de-
l<Bated the Roman arm^. Hermann is the proper name of the chief whom Tacitus '
(coaiifitently with classical usage) has miscalled Arminiut, — ^Editor*

THE MUSICAL LIBRARY.

PARIS.

Eobert U Diable has been acted here for tlie one hundred and twentieth
time to a full house.

Two Belgians have excited great attention by their performance at
Zimmermann*8 soirees. One is the violoncellist, Batta, the other the
young violinist, H. Vieuxtemps.

At the Opera Comique we have had an operetta in one act, called La
SentintUe perdue; it is light and pleasing; the music by Riffauit, the
wonls by St. Georges. We have also another operetta at the same house,
La Marquise^ pretty enough, and in imitation of Auber's style.

ROUEN.

The authorities have caused to be inscribed on the house in which Boiel-
dieu was born the following words, in gold letters: '^ Boieldieu (Fran-
9018 Adrien) was born in this house on the 16th of December, 1776."

LIVORNO.

Mad. Ruiz has appeared here in the Sonnamhula ; and great as were
the expectations entertained of Mali bran's sister, she surpassed them all.
She went through the whole part with immense power and skill, and
the applause she met was no more than she deserved. Salva was good
in Elvino, and the base, Pro, did his best. The chorus and orchestra
ought also to be mentioned with approbation.

GENOA.

We have had the opera, 12 Danae, at the Teatro Carlo Felice. The
composer is M. Persiani, one already known to the Genoese. No opera
could have been more successful ; but wc oupht especially to mention
the admirable filling of the chief parts, by Tacchinardi, Salvadori, and
Moriani.

DIJON.

The Philharmonic Society has been daily increasing. On the 7lh of
February they gave a concert, in which was performed Auber's overture
to Gusiavus.

THE DRAMA.

KiNa*s Theatre.

For the benefit of Madlle, Giulietta Grisi, on Thursday, May 2l8t,
was produced, for the first time here, a serious opera, I Piirita/ii {The
PurUa7i8)j by Bkllim.

DUAMATIS PeRSOM-X.

Lord Walter Walton^ Governor-General, a Puritan ' • Signor Giubit.ex.
Sir George^ liis brother, a Culonel on half-pay, a ditto • Signor Lablachx.

Lard Arthur TaiboU a Knij^hty a partizan of the Stuarts • Signor Rubini.
Sir Richard Forih^ a Colonel, and Puritan • • Signor Tambubini.

Sir Bruno Robertton, an Officer, a Puritan • . Signor Galli.

Henrietta of France^ a (I) widow of Charles I., under the

name of Mad. Villa-Forte . . • Mrs. R. Sbquin.

Elvira^ daughter of Lord Walton • • • Madlle. Gitisi.

The story, it may be supposed, is from the history of England, but in
fact, except the title, has no more connexion with it than with the chro-
nicles of Japan. Lord A. Talbot is betrothed to Elvira, with whom
5i> -ft. Forth is also enamoured. The former discovers, on the very eve
of his nuptials, that the lady disguised as Madame ViUa-Forte is the
widow of Charles I. To save the <]ueen*s life he suddenly disappears
with her, and conveys her to a place of safety. Elvira, believing that
he has transferred his affections to the lady and eloped with her, goes
mad. The Puritans, with Forth at their head, seek to punish Talbot for
his loyalty. Tiie latter returns, explains his conduct to Elvira^ who
recovers her reason, the parliament pardon her lover, and all ends in a
wedding.

Such is the manner in which a notion of our history is conveyed to
the Italians ! and the translation is quite as absurd as the drama. The
music is inferior to II Pirata^ superior to La Staniera, and about equal
to La Sonnambula, It is a repetition of the compoaer's self, and the
composer himself is only somewhat less of an imitator of Rossini than
are Pacini, Donizetti, and others of the same genus. The prettiest
piece in the opera, and that which obtains the greatest applause, and in-
variably an encore, is the polacca (called in concert-bills a quartet),
* Son vergin vezzosa,* sung by Grisi, accompanied by a few notes in
the form of a chorus, by Rubini, Tamburini, and Ladlaciie. There
are two, if not three, compositions of merit in the opera, though we
cannot extend our praise beyond this number. But we reserve ourselves
on this point for the Review department of our next number.

The performance of the principals in this opera merits every praise.
Madlle. Grisi, in exhibiting the extremes of joy and despair, is every-
thing that the admirers of unexaggerated nature can wish. The cha-
racter seems written purposely to display her versatility, and gives a
force to it which lays the author under obligations to the fair artiste
which, with all his admiration of her, he could hardly have anticipated.
The bonhommie of Lablachb is quite as delightful as his singing.
Rubini never wants feeling, though the mode in which he vocally mani-
fests it we cannot approve. Tamburini, both as a singer and actor,
is excellent throughout; and Mrs. £. Sbguin goes through the small
part of Henrietta in a highly respectable manner. We should willingly
praise the chorus, but the manner in which this is executed renders it
impossible to utter a syllable but in reproof. The excuse pleaded is,
that a sufficiency of rehearsals is not allowed. This certainly exonerates
the individual chorists, though it is no excuse for the management.
But the house fills ; and M. Laporte is one of those who will say, in the
language of the old borough- buyers, * look at the poll ! *

Covbnt-Garden Theatre.

Beethoven's Fidelio was performed for the first time on tlie English
stage, on the 25th of last month, for the purpose of introducing Mad.
Malibran in the character of Leonora, Her performance in this ex-
hibits her excellencies, which are many, and her defects, which though
few are striking, both as singer and actress. When she acts from na-
tural impulses, from the feeling excited by her part, she is generally
right, and commands the warmest admiration; but when herself is
uppermost in her thoughts, — when Leonora is forgotten and Mad.
Malibran put forward — when, in short, vanity gains the ascendency,
then does it ^ minister communication of a most poor issue,' and ad-
miration changes into the very op})osite of itself. Most of the music
she sings with exemplary respect for the author, and many of her ad-
ditions are such as fair criticism will not censure ; but occasionally, to
show her compass, her flexibility, and knowledge of harmony, she
launches out into passages as foreign to the air as to the hundredth
psalm ; passages which would have driven poor Beethoven, who was
not the most self-controlled of mortals, into a paroxysm of rage. So in
the acting: — sometimes this talented lady casts off her best guide, and,
governed by an ambition of astoaishing-^trusting too much to what she
perhaps calls her genius — she does things at which

• Folly daps her hands, and Wisdom stares.'

And, in truth, so many at th^ theatre join the party of Folly, so few that
of Wisdom, that if Mad. Malibran acts from calculation, she is not in

error.

English Opera-House.

Another supernatural affair has been brought out at this house, under the
title of The Spirit of the Bell ; the author unknown, to us at least. The
composer is Mr. Kodwell. The piece possesses few qualities of a
captivating kind, though for want of something better and new, it con-
tinues to be performed ; but it has so little chance of being listened to
much oflener, that we take our leave of it in this brief notice.

A most entertaining after- piece, under the title of J, and my Double^
written by the lively author of My Fellow Clerk, was produced on the
16Lh of June. It was received with unanimous, richly-merited applause,
is performed every night, and is decidedly a favourite of the public.

It would be unjust not to mention the liberality lately evinced at this
theatre. We need not say that with a thermometer standing at 80 degrees,
the productions of an ice-house are almost as agreeable as those of an
opera-house. Alive to this fact, the manager announced, and dignified
the announcement by a quotation — though not a very apposite one —
from Mea'iure for Mea^ure^ that to such as paid whole price at box or
pit, the refireshment of an ice would be served out, * free, gratis, and for
nothing,' upon demand being made to the dispenser of the cooling con-
fection. How long the hospitality was exercised, we know not, but
hope that, as the mercury fell, the chill was taken off the ice ; and trust
that, should this inclement summer last, some other more suitable solace
will be found for the stomachs of the box and pit company. But
in what have the gallery folks offended, that they are excluded from the
benefit of this act ? Surely they ought to profit proportionally by the
bounty of the house. Tliree half-pennyworth of something comfortable
miglvt be contrived: say cool ginger-beer, when the quicksilver mounts
high ; warm purl when it descends below the temperate point. At all
events, let not the humbler admirers of music and magic be sent away
withunblest stomachs, while those of the rich are conciliated by luxuries
which could not be purchased at less cost than an entire groat ; perhaps
at an expence of a whole sixpence.

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET,

PaxMTBD BY W. CLOWES and SONS| Duxb Stbbst, Lambbtb.

MUSICAL lilBRARY.

No. XVII. AUGUST, 1835. Pnce Sixpence.

The Music of< Part XVII.' zf

lastallation at Cambridge 75

Public Dinner giYeu to Sir. J. B. Cramer ' .7 ^^
Signer Lablacho * 76

CONTENTS.

The Telephone of M. Sudr6 • • •
The Present State of Music in America
The NortonutcM and the GambatUieM .
Benefit Concerts •

P«MJ»

77,
78
79
, 80

Review m bk

Foreign Musical Beport 82

Drama 84

THE MUSIC OP PART XVII.

RoMANZA — (Page 105).

Prom the popular harp concerto of Krumpholz, arranged for the
piano-forte; by Dussek, and now altered, and adapted to instru-
ments having modern improvements, for this work.

J. B. KRUMPHOLZ,

a Bohemian, was an excellent composer for the harp, which in-
strument he, in conjunction with M. Nadermann, very much
improved, as appears by a notice in the memoirs of the Aeademie
des Sciences, of Paris, 1787. He published eighteen works for
the harp, among which is the concerto whence we have extracted
the present very expressive movement. His second wife was the
young and beautiful MadU« Steckler, of Metz, who came to this
country about the year 1789, and produced a great sensation by
her exquisite playing on the harp. The best judges now living,
who witnessed Madame Krurapnolz's performances, declare that
that instrument has never since been touched in so elegant and so
perfect a manner. M. Krumpholz followed his enchanting wife
to England, and endeavoured to prevail on her to return with
him to Paris, but she was deaf to his supplications ; and in a fit
of jealousy and despair, he threw himself into the Seine, and was
drowned, in the year 1790, according to the DictUmnaire des
Musidens. Madame K.'s conduct was not afterwards marked
by discretion, and she died a few years ago, in circumstances
which the admirers of talent could not but deplore.

remarkable for delicacy and elegance. Of his style we may
judge from that of his pupil, the present Mr. J, B. Cramer,
which the latter acknowledges to have been formed on that of
SchroBter.

Rondo— (Page 108).
From a Sonata, CEuvre 27, published at Amsterdam, by

C. F. RUPPE,

who is, or was. Lecturer in Music and Maitre-de-Chapelle to the
University of Leyden. We believe that the present is the first of
his compositions which has appeared in this country.

Rondo— (Page 112).
From the second Concerto, opera 5, of

JOHANN-SAMUEL SCHROiTEB/

a composer for, and performer on, the piano-forte^ who highly
distinguished himself towards the end of the last century. He
was bom at Warsaw, in 1750, arrived in this country in 1782,
and immediately was placed on the establishment of the Prince
of Wales, as cnamber musician. He married a Miss Scott,
daughter of an opulent merchant, with whom he received a con-
siderable fortune, and retired from his profession, though the
family of the lady allowed him to continue in the service of the
heir-apparent to the throne of England, But the hours and
mode of living at Carlton House proved very unfavourable' to a
constitution not naturally strong, and he died in London> of de-
cline,^ in the year 1788. He published several works, which
exhibit great taste^ and his performances on the piano-forte were

Overture, Fidelia — (Page 116).

This is the second overture to the same opera, written by
Beethoven, and that which is always performed.

Concerning an opera which has excited so lively an interest in
this country, some account will not here be out of place.

Fidelia was first produced under the title of Leonora, by which
name we still find it occasionally mentioned in foreign journals.
Its success was not of a decided kind ; it was therefore re-mo-
delled, extended, a new overture written to it in b, the former being
in c, and thus brought out at the Imperial theatre at Vienna.
Still it was received with tko very marked applause ; and though
now sometimes, but rarely, heard in Germany, and listened to
with respect, as a work of Beethoven, it never there, as a whole,
excites that warmth of feeling which almost invariably attends
the performance of the composer s instrumental works.

The characters of the drama are, Don Fernando, minister of
state, who only appears in the last scene ; Dan Pizarro, governor
of the state prison ; Morestan, state prisoner ; Leonora, nis wife,
under the name of Fidelia, and disguised in male attire ; Rocco,
the gaoler; MarceUina, the gaoWs daughter, and Jacquina,
porter of the prison. Florestan, a Spanish nobleman, is secretly
and illegally immured in the dungeon of a state prison, near
Seville, by his enemy, Pizarro. Flarestan^s wife, who has some
presentiment that he is confined in that prison, hires herself,
under the name of Fidelia, and in male attire, as an assistant to
Rocco, she finally ascertains the fact of her husband's confine-
ment, is the means of saving his life, and restoring him to liberty.
The prisoner is reported as dead, but the minister of state, Fer*
nanda, suspecting that he still lives, resolves to examine the
prison, and set uie question at rest Hence, Pizarro has no
chance of escaping detection but by the murder of Florestan,
which crime he determines to perpetrate, and Rocco is ordered to
prepare a grave for the victim. For this purpose, the gaoler
descends into the dungeon, accompanied by Leonora^ who, with
an obvious design, oners to assist nim in the performance of his
task. She now recognizes her husband in the emaciated feeble
prisoner, but conceus her knowledge and emotions. Pizarro,
aware of the near approach of the minister, enters, disguised, and
attempts to stab Florestan, Leonora throws herself before her
husband, and averts the blow. Pizarro renews hb attempt^
when she presents at hb breast a pistol which she had concealed^
and keeps him at a distance; till trumpets announce the
arrival of Fernando. Pizarro is, of course, dismced, and
all ends happily. There is an underplot: Roccas daughter,
MarceUina, falls in love with the supposed Fidelia, who has won
the goodwill of the gaoler, and the latter determines to bestow
his daughter's hand on the stranger. Thus Jaejumo, Marcel^
linoLs suitor, is disappointed in his hopes. But this leads to
nothing in the musical drama, whatever the author's original
desifi[n may have been.
T%e love of MarceUina, the embarrassment of Lemwra^ the

THE MUSICAL LIBRARY.

determination of Rocco, and the disappointment of Jacqaino, are
expressed in the

QuABTEi:— r.(Page 108).

Marcellina. Hdw itrange does all appear*.!
My heart no more is free.
He loves me, — ^yes, 'tis clear ;
How happy shall I be !

Leonora. Now hope gives place to fear.
New perils yet I see ;
Tis more than I can bear ;
Tis plain that she lovas me !

Rocco, She loves him ; — yes, 'tis clear-

He 's destined, girl, for thee.
* A pair so good, so dear,
How happy will they be !

Joeqainom , My limlis all shake with fear !
Her father !x— can it be ?—
Yes, he consents, 'tis clear-
No hope is left for me.

This charming quartet is called, a canon, and part of it, but
not the whole, is a canon in the unison, or octave, the simplest
Mand only rational form in which this species of composition can
appear.

jPixarro enters in the middle of the first act^ to the

March— (Page 124).

. rAttise opening of the second aet, FlareHan first sppeara : he
explains the cause of his confinement, and declares his sufferings
and resignation in the following

Abia— (Page 112).

Joy has fled and all is cheerless.
Though the spring of life remains :

Truth I dared to utter, fearless.
My reward is these sad chains !

All I bear with resignation.

Pain, disgrace, till life is gone ;
And my heart feels consolation

When I think my dnty's done/

' After the dAwuement is brought ahout, Leonora and JPhruian
(express their joy and gratitude m the following

DuBT— (Page 114).

. Imupiici. iMi more, far more, than mortal pisswue,
Tfans to clasp thee to my ^bveast !

Fhrestan. Thus I clasp thee to my breast!
fVom BofferiiigB without measure,'
We 're freed ;-««at leiqi;lh>we'fe blest.

Leonora. To these fond arms again thou^rt given. '

Fhrestan, Mercy still abounds in heaven !

Both. O heaven be praised, again we 're blest!

I clasp thee to my breast ! ,

The beauty of dtis consists in its melodiousness' and simplicity.
Ike aooompanimenta to most of the pieees in FidoKa are exceed-
inely elaborated, and full almost to redundance ; here they are
wjbpted to the scene — are gentle, tender, and in eveiy way quite
aj^propHSfte.

The English version (by John Oxenford, Esq.) of the Oennan
words of these compositions, is as liteml as the music would
admit. The difficulty of giving an ^araef translation of Geraian
poetry, imitating the measure of the original, so as to auit the
vpresMon and accent of the music, can only be koown io tfaoae
nhorhave gone through the labour.

This glee gained the gold medal given by the Catch-Club, in
1 788. Of the composer,

JOHN DANBT,

little .is known^ though some of his contemporaries are living.
' Be gained ten>prizes £rom the Catch«Club, for seven glees, two
canons, and an oide. Among the first of these are tlu'ee which
will secure to him a niche in the temple of Fame, — " When
Sam^ .tjined. the raptured strain,*' " Awake, ^Eolian lyre,""
and the above. He was a member of the Catholic church, and
died» either at the end of the last, or beginning of the present
century, at the moment a concert was performing for his benefit r
for long-continued bad health had much impaired his circum-
stances, and rendered the assistance of his friends and the pubUe
essentially necessary.' *

Glee— (P^ 105).

Die'fatreftt flowers the vale prefer,
And shed ambrosial sweetness there;
While the tall pine and mountain oak,. '
Oft ^1 the tempest's nider stroke.

Bo in the k>wly moss-grown seat J
Dear peace and auiet dwell;

The storms that rack the rich and great
fjy o'er th»«facphenl'a eaU.

CANzoi^Et— (Page 120).

Go, gentle gales, and bear my sighs away !
To Delia's ear the tender notes convey.
As- some sad turtle his lost love deplores,
And with deep murmurs fills the sounding shores.
Thus far from Delia, to the winds 1 mourn,
Alike unheard, unpity'd, and forlorn,
e « « « «

Go, gentle gales, and bear my sighs away :
Come, Delia, some ; ah, why ihis long delay ? '
Ye flowers that dnx^, forsaken, by the spring,-—
Ye birds that, led by summer, cease to sing,«—
Ye trees that fade when Autumn -heats remove,-^
Say, is not absence death to tbose^who love ?

From the third pastoral of

ALEXANDER POPE,

of whom it would be superfluous to eay more than that he waa-
bom in London, May 22nd^ 1688> and died at. his fiuaed villa at
Twickenham, on the 30th of May, 1744.

The music, by William Jaokson, of Exeter, may, as a song»
be considered his chef-d'ceuvre. We have adapted.it from thfr
composer's score; and believe that^ like many cnrnpoaitiona
which have already appeared in our work> it will be new to
jiiHety«nine hundredths of our subscribers.

Air— (Page 124).

La danse n'est pas ca que j'ainei

liiais c'est k U\t.k Nicolas;

Lorsque je la tiens dans mes brafi,
Alors mon plaisir est extreme,
Je la presse contre moi-m6me.

£t puis nous nous parlous tout has.

Qae. je vous plains voua ne la verrez pas.

Elle a douze ans, moi j'en ai seiie.

Ah ! si la m^re 2^ Nicolas
' N' ^tait pas toujours sur non pss ;
Eh bien, quoique cela deplaise,
Auprfes d' elle je suis bien aise.

£t puis nous nous parlons, flto.

'Qu'elle est gentilte, ma berg^re!

Quand elle court dans le vallon.

Oh ! c'est vraiment un papiilon : I
Ses pieds ne touchent point la terre,
Je I'attrappe quoique Ughre.

£t puis nous nous parlons, &c.

Prom one of the most popular operas ever produced in Prance,
Richard Cceur^de^'Lum, the drama by

MtCHABL-JBAN SBDAIRE^

born in Paris, in 1719, where he died in 1797. Byprofcsaion an
architect, he was a dramatist from inclination, and author of
many of the most- popular pieces that the riperUdre of the Opim
Cemiqme has to boast
The fliusic is by

AKDRB-BBKESTiMODBSTE G8XTRT.

The Flemings claim' this celebrated composer, Li^ havingr
given him birth in 1741. His sensibility to mu3ioal sounds was
apparent from his fourth year. In 1750 he repaired to Rome»
to perfect himself in bis art, and.stucbed ehi^y itfider Caaali. He

'* HnrNOMccH, si. 18S.

TBK M^USICAL UBfiARY.

J)fc

there composed many Italiaft 9etne, and some overtures^ and was
€«en engaged by the managers of the Teairo dAlberti to vnrite
two operettas, which had great success. The famous Pieoini
pubholy praised them, for said he, ' M. Gretry does not follow
the beaten track.' He then proceeded to Paris, and first made
himself known* by setting Marmonters HUron, most successfully
brought out in 1769. After this, he produced operas in number
qtdte surprising^ many of which were enthusiastically received,
aend scarcely any one failed. Among them were Le Tmleau par^
lant; Zemireet Azor; Le^ Mariaaes Samnites ; Richard Coeur'"
de^IAcn, 1785; Barbe*Bleu; Cephale et Procris ; La Cartwane
du Caire, &c. &c. In 1790 appeared his estimable literary
work, Essais sur la Musique, of which the French government
published in 1793 a new edition, in three* volumes octavo, an act
no less redounding to the credit of the then existing authorities,
than to the reflecting and ingenious author.

M. Grdtry was a member of the French National Institute,
inspector of the Conservatoire de Musique^ ^c. In him the re-
publican government found a decided partisan, and he was com«
poser of one, if not more, of those airs which alarmed every
monarchy in Europe. He proved, however, not less inconsistent
than many other savans^ and accepted the order of the Legion
dHonneur from Napoleon. He died in 1813, and was buried
with much pomp in a handsome tomb in the cemetery of Mount
Louis, close to the great poet, Delille.

INSTALLATION AT CAMBRIDGR

GfiRBMOKiALs of this kind are not matters of frequent occurrence,
and having been disappointed last year of an account of the in-
stallation at Q&ford, we are more desirous of noticing that of the
Marquess Camden, which took place at Cambridge early in lart
montn. Of course we confine ourselves to the musical part of the
business, happy that it is not our duty to observe, except thus en
paeeant, on the condiict of the under graduates, as well as of those
who permitted their excesses, which showed that birth and acade-
mical education do not always lead to the formation of gentle-
ipaniike manners.

The musical performances consisted of sacred music in Great
St. Mary's Church, and miscellaneous concerts in the Senate
House. The vocal performers were, Mesdames Caradori and
Stockhausen, and Madlle. Grisi; Misses Bruce and Wagstaff;
Signori Rubini and Lablache; Messrs. Sapio, Parry, jun.,
Hobbs, Terrail, and Machin. The instrumental band was led
by Mr. F* Cramer, and consisted of Messrs. Lindley, Nicholson,
Willman, Harper, and several of our best orehestral performers.
The whole was conducted by Sir G* Smart, in the absence, occa*
aioned by illness, of the university professor. Dr. Clarke Whitfield.

On Saturday morning, July 5th, the Mbssiah, with Mozart's
accompaniments, was performed at the University Church, Great
St. Mary's, and opened by. Mr. Sapio, in a manner only inferior
to Braham. Mesdames Caradori and Stockhausen, together with
Messrs. Machin, Hobbs, and Parry, jun., did justice to their re-
spective parts. The first of these ladies was perhaps occasionallv
a little too florid ; and the choruses were not all executed with
the nicety that is now so usual.

On Sunday, the 6th, .the Chancellor^ attended by Prinoe Georee
of Cambridge, the Archbishop of Canterbury, the buke of North*
umberland, (High Steward of the University,) the Bishops of
London and Lincoln, Lord Brecknock, (son of the Chancellor,)
several other noblemen, judges, the heads of houses, &c., went in
full state to St. Mary*s, when an anthem, by Mr. Edward Dearie,
■organist of Newark, was performed as an exercise, previously to
the degree of bachelor-in-music being conferred on ham. This is
a composition of considerable merit ; but from the thinness of the
band, and the ineffective singing of most of the performers, it was
Qot heard to that advantage which, on such an occasion, was ex-
pected.

On Monday evening, the 7th, there was a Concert in the Se-
nate House. The room was full to suffocation, and the lighting
miflerably defective. Haydn's Seventh Grand Symphonv was
well executed. Madlle. Urisi sang the aria of Costa, ^ Dall'asilo
della pace,' one of her stock pieces, in her accustomed brilliant
manner. Lindley, a great favourite with the Cantabs, played a
lively concerto. Mad. Caradori and Rubini gave the favourite
duet in Mos6, ' Ah ae puoi,' but it failed in effect here. In truth
it requires the stage to. develope all its beauties. Mad. Stock-*
hausen in Mozart's ' Dove sono,.* was by alL admitted to be da*.

lightful. Lablache, in a comic air from La Cenerentola, made^
the few laugh who understood it, and these were joined by the
manj to whom it was not intelligible. Mad. Caradori should not.
persist in singing the air from La Sonnambula — ^it is not at all cal-
culated for her. The polacca from / Puriiani, ' Son vergin vez«-
zosa,' which has been, performed some three hundred times in*
London since Easter, finished the first act.

The overture to Oberon, not very well executed ; an aria from!
Otello, by Mad. Grisi ; a song by Professor Whitfield, injudi*
ciously chosen; Mad. Stockhausen's pretty bolero, 'Ouvreai
ouvrezT Mad. Caradori's not less pleasing ballad, 'Jock o'
Hazeldean ;* the rich movement of Weber, for the clarinet, admi--
rably played, as a matter of course, by Willman ; the comic duet
firom La Prawi d* un opera seria, sung by Madlle. Grisi and
Signer Lablache ; and the overture to the Zauberfldie, constitutedi
the second act of this concert.

Tuesday morning, the 7th, was the grand day, on which the:
Protunones Academuxe, or prize-compositions, were recited, the*
various degrees were conferred, and the Installation Ode was perr-
formed; the latter written by the Rev. C. Wordsworth, FeUow q£
Trinity, and set to music by T. Attwood Walmisley, Mus, Bbo*,.
organist of Trinity and St. John's. The words of this are fac
from being lyrical, and a very short time was allowed for setting;
them to music. These circumstances considered, the productioii
is honourable to the young composer, and was received with the
applause it merited, from the real connoisseurs who listened to it;^
for during its performance the audience were not in the most
attentive humour. The overture is remarkably well written, the-
design is good, the subjects are ably worked, and the various in«^
struments are skilfully employed : it was impossible, however, not
, to discover resemblances in thia. The vocal parts are rather der
ficient in that kind of melody which immediately fastens ou the
ear, but the unmusical character of the poetry may in great*
measure account for this. The choruses are clever, and, had
more time been allowed, .would probably have been finished in a*
still more masterly manner. Tne hasty manner, too, in which,
the whole was got up will account for reminiscences to be found
in different parts of the ode, particularly of Weber. The youth-
ful composer was much complimented on his work, and the Chan-
cellor himself publicly honoured him by his marked notice. In>
the evening the second concert took place, in the same places
Beethoven s symphony in c minor, his overture to Fidelia, and
Weber's Jubilee overture were performed ; Mr. Harper on th»
trumpet, and Mr. Nicholson on the flute, played solos ; Signer
Rubini sang two Italian airs, the eternal ' Vivi tu' being one of
them ; Mesdames Stockhausen and Caradori each sang twa>
single pieces, and joined in others; and some ballads were givea
by the other vocalists. But the company was very scanty in)
number ; the whole went off, therefore, somewhat languidly.

On Wednesday morning, the 8th, a selection of sacfed music,
was performed at St. Mary*s* It commenced with Attwood'ft
last Coronation Anthem ; after which Mr. Parry, jun., sang Pei^
golesi's ' O Lord have mercy !' most delicately. Selections, in*
eluding an air and chorus of extraordinary merit, from Dr. Clarke:
Whitfield's oratorio, The Crucifixum, (which the bills take care
to say is a sacred oratorio!) from 7%e Mount of 0live9^ and
Spohr s Last Judgment, were well performed, though they cer-
tainly produced no very striking effect. To these were added*
* Let the bright Seraphim,* by Mad. Caradori; Mozart's lovelv;
air, ' Benediotus/ bv Mbs Bruce ; his motet, ' Ne pulvis ; ' ' With
veidure clad,' by Mad, Stockhausen ; and the chorus, ' The Locd
shall reign/ with which the musical part o£ the Installation ter*
minated.

The gross receipts at the various performances amoimted tO:
2270/., and the expenses to about 20002. The title to the small'
pxofit was disputed between the Governors of Addenbroke's Hos-
pital and the Committee acting for the music-professor. Dr. Clarke
Whitfield, but the latter very liberally withdrew their claim in
favour of the charity ; though it seems pretty clear, that, as the^
risk was the .professor s, the gain— a very miserable one, the liar
bility considered — ou^ht to have been placed to bis account.

PUBLIC DINNER GIVEN TO MR. J. B. CRAMER

Thb nearly approaching retirement from England of this distin-
guished composer and unrivalled performer, and his relinquish-
ment of a pixifession which he has, with infinite advantage to the
art and to those K^ohave studi^ it under him. as well as moit«

H 2

lUE MUSICAL LIBRARY.

creditably to himself^ exercised during the long period of half a
eentury, are events that have not failed to produce a considerable
sensation in our musical circles. The prevailing feeling is a
gentle sorrow — a regret to lose one who has been the source of so
much unmixed, refined pleasure, and who, though no longer
young, is still in the full possession of those powers which have
been not the admiration of this country only, but of all Europe.
Deeply, however, as we lament a retreat by which tens of thou-
sands will be deprived of so much exquisite enjoyment, we cannot
blame Mr. Cramer for having come to such a determination. He
withdraws before he has begun to decline, and the impression his
last performance has leH; is as strong as he ever made when at
the meridian of his natural life, and of his professional fame.

When generally known that Mr. Cramer did actually mean to
retire altogether, it was very properly suggested that some public
mark of respect should, previously to his departure, be shown him
by the professors and amateurs of music. A dinner was fixed on;
but it either did not occur to the proposers, that at such a meeting
speakers would be necessary, or they utterly forgot that oratory
is not the usual accomplishment of musicians. A tolerably good
address on the occasion from the chairman, one that might
have been reported in the daily papers, and thence have
been transferred to pages of more than ephemeral existence,
would have been a lasting tribute to the merits of him whom it
was intended to honor. If it had appeared unlikely that any
gentleman could be found to preside, whose acquirements and
habits qualified him for such a duty, how much better to have
presented Mr. Cramer with a piece of plate with a suitable
inscription, a memorial which would have proved to his descend-
ants, and enabled them to show, the estimation in which their
ancestor was held by his contemporaries.

But it was resolved that a dinner should be eaten ; it accord-
ingly was eaten at Freemasons* Tavern, on Wednesday, July the
^ '^♦^ One hundred and thirty gentlemen were present ; and on

15th.

the platform, at the back of the cross-table, seats were provided
for one hundred ladies, who were attracted by the performances
which it was understood would take place after dinner. Sir
George Smart was in the chair.

When the cloth was withdrawn, and 'Non nobis' had been
sung, ihe King, the Queen, and the Princess Victoria, with the
rest of the Royal Family, were severally given. The chairman
then— after some remarks, which seemed to have more of a bio-
graphical than any other tendency — proposed the health of Mr.
Cramer, which was received with every possible demonstration of
respect and regard. Mr. Cramer returned thanks ; but was so
entirely overpowered by his feelings, that he could only express, in
a brief sentence or two, his grateful sense of the honour conferred
on him by the assembling of such a party, and his very sincere
thanks for the friendly warmth with which his health had been
drunk. William Ward, Esq. late M.P. for the city, proposed in
a few complimentary words the health of the chairman. ' The
AmcU^urs present' were then given, which Sir John Rogers, Bart.,
President of the Madrigal Society, acknowledged in a pointed,
neat, humourous and appropriate speech.

The musical part of the entertainment proved the best, as was
to be expected : it was interesting, and might have been rendered
much more so, had the vocal pieces all alluded, in some manner,
to the occasion, which could, with the utmost ease, have been con-
trived. One elegant song, written and composed by Mr. J. A.
Wade, alone was appropriate ; it was charmingly sung by Mr.
P^LTry, jun., and accompanied by Mr. Moscheles, who most
ingeniously, and in excellent taste, introduced as ritornels to the
air, passages from Mr. Cramer's Piano-forte Studies. The effect
produced was exceedingly striking.

After the King's health had been given, Mr. Bennett sang
Braham's song, ' fhe King, God bless him ! * the composer him-
self, who was expected, being unavoidably absent. During the
evening were performed the foUowing pieces :—

^ee, Fivie voices, < In this fair vale' Attwood.

80I0, Piano-forte, M. Herz, from DtUce d Utiie • • . • Crambr.'

Song, (as above) Mr. Parry, jun , , , Waj>k.

Solo, Piano-forte, Mr. Neate, the Toccata in G • . . • Craksr.

Do. do. Mr. Potter, Rondeau Exjprtmif, Op. 78 . , . Crambr.

Glee, 'Come, gentle Zephyr* . • . . . . . . Horslbt.

Extempore Fantasia, Mr. Moscheles, chiefly consbting of Cramor*s

faTourite moreeaux,

Qlee,< Sleep, gentle lady' . Bishop.

It followed as a matter of course that, on such an occasion,
Mr. Cramer himself would be requested to take his seat at the
instrument of which he is the 'mighty master/ and allow his sur-

rounding friends once more to hear his * touch divine'-^perfaaps
for the last time ! The moment the chairman made known to
him the unanimous and anxious wish of the company, he sat
down, and with that modesty, that good-breeding, which has ever
marked his public conduct, instead of introducing one of his own
compositions — of which there are so many mat would have
charmed so discriminating an audience — ^he performed a work of
his favourite author, Mozart's Fantasia in c minor, and executed
it in a manner which almost wrought on us to believe that the
spirit of the composer was hovering over the instrument, enjoying
the double triumph of himself and a votary so worthy of him.

SIGNOR LABLACHE.

{From ihe French ofM. CasUl-BlaxeO

Louis Lablache was born at Naples, December 6th, 1794.
His father, Nicholas Lablache, a Marseilles merchant, quitted
France in 1791, established a commercial house at Naples,
and shortly after married Franqoise Bietack, of an Irish family.
Signer Lablache is a charming actor ; his voice is prodigious,
and he manages it with admirable skill. There is a circumstance
more surprising than his voice, namely, his musical organization ;
it produces wonders. If he had not possessed miagnificent vocal '
powers, he would not have shone less amongst the virtuosi of the
present generation : unpossessed of so rich an organ, he would
have performed upon the violoncello like Bohrer ; on the flute
like Tulou : from the organ to the Jew's harp, all instruments
were within his power ; he had only to make his choice.

Lablache entered the conservatorio of Naples at twelve years '
of age. Gentili, his first master, initiated him in the principles
of music. Yalente taught him singing. Louis had not yet fixed
on the particular line in which he should pursue his musical
career. He already played on the violin and violoncello : he had
also a beautiful contr*alto voice.

When Haydn died, a mass was ordered to be sung throughout
the French empire, and the kingdom of the two Sicilies. At
Naples, was performed the Requiem of Mozart. Lablache as- ^
sisted the contr altos in the chorus. This division was feeble ;
the young zealous singer, therefore, made great efforts to support
it, and thus balanced the other parts, which were more nume- -
rously filled. This hazardous exploit entirely destroyed the
voice he then possessed; during two months he could not even •
speak. When, one morning, he awoke coughing, speaking,
singing, with a sonorous base voice of prodigious power. He
was then fifteen years of age. He played very well on the vio-
loncello ; but a contra-base was wanted. This he replaced :
three days* study were sufficient for his acquiring the necessary
skill. The labour of mastering so very fatiguing an instrument
was the cause of an enormous cmscess under the clavicle, which
rendered a surgical operation necessary. Then it was that"
a passion for the stage seized the youthftil musician ; he dreamt
of nothing else. Five times did he elope from the conservatorio
to embark in a theatrical career, but he was always brought back.
At length, to cure his wanderings, a kind of theatre was formed
within the walls of the conservatorio, and Lablaehe's wish was
gratified; he no longer sought abroad what was provided for
him at home. No more a truant from his school, he continued
uninterruptedly his studies, which were completed when he' had •
reached his seventeenth year. But it was not without difficulty
that he obtained permission to quit the conservatorio, and make
an engagement, as a buffo, bX the theatre iSbn-CarZiito — {little St.
Charles), the smallest in Naples, where two representations are
given daily.

Lablache had held this engagement only six months, when he
married Teresa Pinotti, the daughter of an actor belonging to
his own troupe, the best comedian Italy has produced. Afadame
Lablache soon persuaded her husband to resign a situation
unworthy of his talents, and he engaged himself in Sicily : at
Messina and Palermo he shone alternately as a Basso Cantante.

In 1820 he was invited to Milan, where he made his debut at
La Scala, in the part of Dandini, in La Cenereniola. Such was
his success in this character, that an engagement for six seasons
was immediately offered him. At Rome, Turin, and Vienna, he
was not less fortunate, and at the latter city a medal was stmek
in honor of him.

After sixteen years* absence, Lablache returned to Naples, and
appeared at the great theatre, the Scan Carlo, in the eharader of
Assur, in Semiratnide. After this^ he was engaged for the

IHE MUSICAL LIBRARY.

opening of the grand theatre of Partna^ and appeared in Bellini's
Zaira, in the character of Orosmano. Vienna^ Milan^ and
Naples, again enjoyed his talents at different seasons.

He first visited Paris in 1830 ; and passed the years 1831 and
1832 between Paris and London. He then returned to Naples;
but in 1834 revisited Paris, which city and London have since
occupied the whole of his time.

The voice of Lablache has only the common compass of a
bass, from o to e. If we except the two extreme notes, this voice
is equal throughout, and clear as a bell ; it proceeds from the
chest, as freely as the sound of an organ-pipe of eight feet. Rea-
diness, correctness, a perfectly musical accent, and an invariable
firmness — talents united of singer and actor, which at once meet
the demands of the music,' and of the scene, giving to the musical
dialogtie the character of familiar conversation; such are the
qualities possessed by this performer. His execution is so spi-
rited, so entirely satisfactory, — his action, his humour, comical
whims, fill up the musical pauses so well, that a recitative from
him, deprived of all the ornaments and enchantments of melody,
is heard with as much interest as a pathetic cavatina, or a light
and brilliant one executed by the best soprano or tenor.

The triumph of Lablache is in the opera-buffa ; but bis supe-
riority in the comic scene does not forbid his being the admirable
serious character of Assur, in Semiramide. His tall and ma-
jestic figure, his fine, expressive, noble, and imposing countenance,
give to the father of Desdemona a dramatic importance which
was doubtful before Lablache accepted this subordinate part.
The same may be said of the character of Mose, The part of
Maometto, in the opera of that name, has placed him in the first
rank of tragic actors. In this department he is great, beyond
doubt; nevertheless he can afford to confine himself to the comic
opera^ He only appeared in tragedy to gratify himself occasion-
ally, or to render service to his director.

When he plays the part of Campahone, of Geronimo, of Dan-
dini, of the Magnifico, of the Podesta^ of Leporelh, of Fonfana-
rosa, of Figaro, of Pandolfo, we experience a pleasure so
deliciously uniform, so complete, that we would willingly allow
him to retire altogether from tragedy. This actor, this singer,
unites in a supreme degree all the qualifications that can be
imagined for a buffo. It is a model, a chef-d'isuvre of the kind,
and whoever has not beard and seen Lablache, cannot conceive
the degree of perfection at which a comic opera, nay even an
Italian farce, may arrive. — {Gazette Musicale.)

THE TELEPHONE OP M. SUDRE,

The French journals and periodicals have frequently noticed,
in terms of respect and approbation, a new invention, by which
not only words, but sentences, in all languages, may be conveyed
to any distance within hearing of a musical mstrument, by means
of inarticulate musical sounds. The author of this discovery — if
it ought so to be denominated — M. Sudre, a native of France, has
long since exhibited and explained his invention to the Acndemie
dei Sciences, and not only obtained from that learned body a
public declaration in his favour, but the most distinguished
member of the academy, M. Arago, lately furnished him with a
recommendatory letter, couched in flattering terms, to the Royal
Society of London, at one of the meetings of which he very
recently gave a proof that his method is practicable, though to an
extent much more limited than he is willing to admit.

It appears to us that Mt* Sudre should have designated his
invention a system, rather than an instrument ; for if i^e are not
mistaken, all musical instruments, especially those which can be
heard at a considerable distance, may be used for his purpose.
By the sounds of a violin, a pianoforte, a trumpet, &c., he pro-
poses to accomplish what the telegraph does by figures or colotirs.
Hence the word Telephone, from r^Xa, far, at a distance, and
ipcrm, sound, which however is not quite appropriate, in whatever
way considered.

It is almost superfluous to remark, that a kind of musical
language has long existed among military bodies. Cavalry receive
their orders, in the field from the trumpet, the various tunes of
which— *for tunes they are — ^indicate so many different movements.
The same holds good of the bugle, in relation to light infantry.
Even the drum, though monotonous, communicates, in a perfectly
intelliffible rhythm and roll, the orders of the commanding officer
to each battalion. And doubtless the same principle, carried out
. to a greater extenti and very ing^aiously applied, is that on wUdi

M. Sudre has founded his distant-speaking lanffuaee. The seven
diatonic sounds in music are represented m F'rance by the
syllables ut, re, mi, &c., and in dermany and England by the
first seven letters of the Alphabet. Ut, re, mi, fa, sol, la, si,
denote, c, .d, e* f, g, a, and b. Ut, then, sounded on any instru'
ment, indicates the letter c; re, d: and so on.. Thus, however,
we should get representatives for only seven letters ; but the same
nominal sounds taken in . three different . scales of seven notes
each, would denote twenty-one different letters, which are
as many as any language absolutely requires. All these, too,
might be varied in meaning by the more or less duration of the
sound : thus combinations in vast number^ each significant, may
be produced.

But all this implies that both speaker and hearer are lin-
guists and musicians, or that they are attended by persons well
acquainted with language and music. M. Sudre is accompanied
by a young person who gives, in any one language, the words as
composed of letters, conveyed. by the violin of nis principal. But
he does not necessarily, understand the words thus formed, and in
most cases is actually ignorant of their meaning. Some one then
must be at hand to act as translator; and the trumpeter, or
violinist, who sounds the notes, will almost invariably be a mere
agent, and require to be under the direction of one who unites in
himself a skill in languages and in music.

On Wednesday, the 8th of July, M. Sudre. gave a public
demonstration of his ' Musical language,' in the Concert Room
of the King's Theatre ; and in order to fill up a certain quantity
of time agreeably, as well as to relieve himself and justify his
demand of half a guinea as the price of admission, sevek'al pieces
of music were executed by various performers of eminence. But
as it is not our intention to view this in the light of a concert, we
will confine ourselves to the object which engaged the whole of
our attention ; and shall avail ourselves of a clear description of
what passed, given in Leigh Hunt's London Journal,

* M. Sudre opened his lecture by some observations on the
nature of language in general, as the means of .conveying thought
from mind to mind, and then, by a variety of satisfactory proofs,
established the applicability of music to this purpose.

' The audience were supplied with small slips of paper, upon
which several ladies and gentlemen wrote sentences. Each
sentence was then handed to M. Sudre, who translated it into
musical sounds with his violin, while an assistant, so situated as
to be within hearing of the sounds, but beyond the reach of
personal communication, was engaged in translating the music
back again into the very words of the sentence.

' After hearing the music, the assistant wrote down, not the
substance, but the exact words of each sentiment on a black board,
in large letters of chalk, and the correctness with which he per-
formed this office seemed to give great satisfaction to the company,
and to interest their feelings in ienalf of the ingenious inventor.

'We select a few from the numerous examples: —

*' La Telephone, peut-elle seule etre le langage des savans ?"

*' Le genie s^impose t6t ou tard.'*

'* Amitie entre Angleterre et la France."

*' L' humanite vous sera reconnoissante de cette invention."

" Honneur k Tinventeur."

" Les arts valent mieux que la politique."

" Du Createur adorons la grandeur."

'M. Sudre also exhibited the efficiency of his ''Musical Lan-
guage" when written in musical characters, by a similar course of
experiments, and gave examples of a new finger language founded
upon musical notes.

' The inventor seems to entertain sanguine expectations- of
inducing mankind to adopt his system as a universal language,
but in tnis he is attended rather by our good wishes than by our
hopes.

' His more moderate view of applying it to telegraphic commit-
nications seems better founded ; though even that appears beset,
on the very threshold, by the awkward necessity of securing a fair
wind from the Weather-office.'

A few scientific gentlemen who were present on this occasion
went away fully persuaded that the whole was the result of con-
federacy, many active foreigners having been observed to place
themselves around the platform, and in apparent communication
with M. Sudre. But, a few days after, at the house of a distin-
guished Fellow of the Royal Society, the inventor privatdy
repeated his experiments, when it was impossible that any coiol^-
nation could be formed^ suod the results were still more satisfactory,

H 3

THE MUSICAL LIBRARY.

tti it Wfts evident that M . Sudre bad not recourse to any dis«
ingenuous arts in exhibiting his experiments.

We will only add, that this Telephonic system is one of the
most ingenious contrivance^ we ever witnessed, or that ever has
been recorded, but th^t ther^ is very little probability of its ever
being practically applied to any useful purpose.

THE PRESENT STATE OP MUSIC IN AMERICA.

Next to the interest which an Englishman must take, both from
patriotic and interested motives, in the progress of art in his own
oounti^, is that which he feels for its advancement in a land peo-
pled by descendants from British ancestors, who speak his lan-
guage, are governed bv laws nearly the same in principle^
whose customs differ little from those he obeys, and whose man-
Mrs, — at least such as prevail in the chief cities, — in essentials,
vary only in a slight, an almost imperceptible, degree from the
standard by which he willingly regulates his own. Hence we
are much grati6ed to find that Uie progress of music in the United
States is such as tempts us to believe that, at a period not very
remote, the new continent will have no occasion to import from
Europe, except in the way of exchange; and that as many com-
positions and performers, equal in quality, wilt be derived from
the Western hemisphere, as the Eastern world shall contribute to
that vast and rapidly-improving region.

Among other proofs, which wiU presently appear, of the in-
creasing cultivation of music in the United States, the publication
of a monthly magazine wholly devoted to the art is not the least
conclusive. This is printed at New York, under the title of The
American Musical Journal, a M9nthly Repository of Musical
Literature, and of 9iandard Foeal md instrumental Music,
Each number contai]» twenty-four quarto pages of letter-press,
and eight of musicjirinted from types. The work is, in fact,
upon the plan of The Uarmonicon, a publication which stopped
at the completion of its eleventh volume, in September, 1833«
and from which the American editor has furnished himself
witK a very large portion of his materials. While he has also

!}aid us the compliment— -and we really feel it as such — to trans-
er our oolumns into his, often, though not invariably, acknow-
ledging the source whence he has drawn a supply, which we hope,
and would fain believe, will not diminish the value of his publi-
cation, we shall certainly feel ourselves at liberty to profit by
Vf hatever we may meet with in the pages of the American journal
thai will be likely to interest European^ particularly British,
readers.; and at once begin by extracthig from the first, second,
and fourth numbers, three articles, on the present state of musical
Bocieties en the other side of ihe Atlantic.

ON THE fiVIDBNCBS OF MtJSICAL TASTE.

• To an attentive observer of aiusical evenis in New Yo A» there
are many circumstances indicative of the existence of a very gene-
ral taste fer music. amongst our people. By taste we ntean not
merely a fondness for such melodies as they have been aoonstomed
to, which exists in a great ^degree amongst all people^ but an ap-
preciatioa of that elass of nracttc confessodly ^cxid.

' For evidences of this taste, we refer to the ubersl patronage be-
stowed on good music produeed at the theatre, oratorios, and con-
certs, whicn we think is the best proof that can be given of a taste
fer. music of a high orderi, as people do Jiot patronise that for which
they ha^ no liking.

* The manager, of the Park Theatre has done much in intro-
ducing new music to the notice of our citizens^ fer which be de-
aenres the thanks of every miuncal amateur. The opera of Der
FmysohidZj independently of its scenery, incantations, &c. created
a great eensation from the novelty and excellence of its music,
and was nightly crowded, and it still continues to draw good
houses whoieveir performers of talent sustain the chu-actors.

< The same may be said of Artaaerses^ MasanieUo, John of
Paris, and several other musical pieces ; and there is the opera
of Cinderella, which contains such an excellent selection of music,
that it has continued to draw fiill houses for upwards of seventy
nights. Last spring, when Robert the Devil was produced with
Mr. and Mrs. Wood, the house was crowded nightly .

' la sacred music the most brilliant success has attended the
exeftions'of the New York Sacred Music Society. When this
Mciety first produced the Messiah, such was the eamness to hear
it, that St Feul's Chapel could not contain all who sauglit ad-
It was^ performed £ve times in one year to - crowded

houses, and last spring at its performance nearly two thousand
persons were present. The same success has attended the pro-
duction of the Creation, Te Denm, and other performances, when
the selections have been good and well supported.

* The concerts of the Kuterpean and Musical Fund Societies
have invariably been well attended, and so also have been many
other performances that could be named both sacred and secular.

' The crowds which this summer flocked nightly to Niblo's and
other places of amusement, where music was the chief attraction,
afford additional evidences that our people possess a native en-
thusiasm for music, and when it is not placed beyond their means
by extravagant prices of admission, they will enjoy it.

' In addition to our large societies, we have numerous private
clubs for practising music of the best kind : at one of these we
have heard performed the Requiem of Mozart, besides other
masses of Mosart, Haydn, Beethoven, &c.; at another the quin-
tets, quartets, &c of Boccherini, Mozart, Haydn, and Beethoven;
and at another some of the best glees. It is well known that the
private quintet, quartet, glee, &c. parties are of frequent occurrence.

' Music is cultivated privately to.a ereat extent ; almost all pa-
rents consider it a necessary accomplishment for their children ;
every house of respectability has its piano, guitar, or harp, and
music is the chief source of amusement at our social meetings.
The amateurs of the violin, flute, and other instruments, are nu-
merous, and many of them have attained considerable proficiency.

' But the increase of professional men, of new musical publi-
cations, of the manufecture of musical instruments, particularly
of the piano-forte, and the rapid extension of every branch con-
nected with music, are all evidences of the extent of its cultivation^
and proo& of the strong passion entertained for it by our country-
men.

' Hie evidences of taate are not confined to our city. No doiAt
proofs equally strong can be giv^i in our other chief cities, and
also in very many piaoes in the country.

' Dr. Bumey says, ** Music, like vegetation* flourishes diffe-
rently in different climates, and in proportion to the culture and
encouragement it receives.** And in speaking of music in Ger-
many, be remarks, '^ It has already been c^erved that music
being taught witli reading and writing in ooomion schools in Ger-
many, ^ves an opportunity to the inhabitants, during youth, of
discovering and cultivating genius, wherever it subsists. And to
this advanta^ we must acU the great number of books of instruc-
tion and criticism on the subject of music, whidi have been pub-
lished during the present century, chiefly in the German language^
and which must greatly contribute to make a musician of every
reader who has ears, and a critic of all who have understanding.'*

' In the various departments of the arts, sciences, .and literature,
our countrymen have given evidences of genius and talent We
have produced eminent novelists, poets, painters, Jsculptors, en-
gravers, &c. We are sensibly alive to the charms of music, and
possess every natural endowment for success in its pursuit^ and
when its study receives that aid from standard works and the
periodical dissemination of uselul information, which exerts such
a beneficial influence on other branches of learning; when ita
principles become more widely difiused and better understood;
when we have schools like Italy, Germany, and France, to confer
a thorough knowledge of the science of music on those who in-
tend to follow it as a profession, we may then look for our native
composers to contribute our country*s quota of genius to the
common stock.'

BISTORICAL SKSTCHEB OF AMERICAN MUSICAL SOCIETIES.

The following is a' sketch of the foundation and iw 'D g i'e gs >of
the Haadel-aad-Haydn Society of Boston. It is dnefly from the
records of the Society, and consecfuently is authentic.

' At a nseeting of a nimber of gentlemen, at Grainpner's Hall,
Franklin-street, cm Thursday evening, March SO, 1815, for the
purpose of considering the expediency and practicability of fbrm-
ing a Society, selected from the several choirs in the town of
Boston and vicinity, for cultiyating and improving a correct ta^e
in the performance of sacred music, and also to introduce irito
more general practice the works of Handel, Haydn, imd other
eminent composers,—

' After a full discussion upon the objects of the meeting, and a
unanimous wish to form snco a society, it was agreed to appvint
& committee kat the purpose of drafttng v^plations fsr a Society*
as ri)ove>conteiiiplatecL . AdjoKroediaeetiDga wsere kdd wveUyj.

THE MUSICAL LIBRARY,

and on Thursday evening, April -20, 1815« the whdle proceedings'
of the associates^ and a draft of a constitution was accepted and
signed by thirty-one gentlemen. They then proceeded to the
d.oice of officers^ and the following members composed the first
government :

Thos. Smith Wesb, President.
Ahasa Winchester, Vice President.
Nathaniel Tucker, Treasurer.
Matthew S. Parker^ Secretary.

Bbnjahim Hall,
Elnathan Durbn^
Joseph Bailey,
Charles Nolen,
Ebenezer Withington^

I John Dodd,
Jacob Guild,
William K. PHim,
Samuel H. Paresr.

' The Society after bavin? been organized, the President having
taken the chair addressed tnem in a &w but impressive words.

'The first expenses were defrayed by vwmtary loans of
meAnbers.

' The first meetings of the Sodiety, for performaRee, were held
at the Hall in Pond-atreet, and the performances were flattering
to the hopes of the members and the friends of the Institution.

'The first annual meeting was held in September, 1815, for the
choice of officers, and the same gentlemen were re-elected. The
• Society continued to enlarge, and held adjourned meetings from
time to time, until the evening of Christmas-day, December 25,
1815, when they publicly performed their first Oratorio at the
Kind's Chapel, Tremont-street; which consisted of the first part
of Haydn's Creation, for the first part, and the second and third
part were selections from Handel's Oratorios. ^

' The number of persons present with tickets^ on this oocasion
were nine hundred and forty-five.

' Two more Orttorios were given at this place, in the course of
the season.

*The Society obtained an act of incorporation, Februarv 9, 1816,
which was accepted by the members, and they signed the consti-
.tution'by which they were in future to be governed.

' The first assessment (five dollars) was laid on each member
July 12, 1816.

• The Society continued to increase in such a manner, that it
was found necessary to procure a more extensive place for
rehearsals, and on February 11, 1S17, they held their first
meeting in Boylston Hall, at which place they continue (1834)
to be located.

'The' fourth, fifth, sixth and seventh Oratorios were performed
at the King's chapel on the evenings of April first, third, fourth
and eighth, 1817. At these meetings the Oratorios of the Mes-
isiah and Creation were performed entire. On the fifth of July,
the -same year, the eighth Oratorio was performed at the churim,
in Chauncey Place, in honour of the visit of the then President of
Ihe United States, and at the request of the Committee of Airange-
ments. President Monroe was present

' At the annual meeting of the society in 1617,

' Benj. Hall was chosen President, and
. 'Job. Bailkt, Vice-President

« Col. WaBB declined, being about to remove to iJie Weslem
country.

, 'The Oratorios have been performed regularly, at Boybton
.Hall, since this period, (1817.)

'The Oratorios of 1818 were extremely interesting ; the society
were assisted by those celebrated performers Messrs. Incledon
and Phillips.

'The second and last assessment ever laid on the members,
was-ten dollars, September 2, 1819.

.'AvASA WiNCHBsxBR was elected President thb year, and
.held the office eight years, with one exoeption. The present
4Becretary was also first chosen secretary this year, and has con-
tinued unto this day. The annual report for this year, found a
.balance against the Society of 1061 dollars, 56 cents. The annual
report of 1820 found the society in a more flattering situation,
Ib^g only 161 dollars in arrears. The Society continued to
improve, and at the period of 1825 was considered superior, by
jprofSessional gentlemen, to any similar institution thb side the
.Atlantic. The society have published much music, from the
4kratorioa and maases of Handel, Haydn, Mosart, Beethoven and
xtbnrs, and many editions of churdi music. These sources have
in-a great part paid the expenses of the Society sinee 1821. The
profits which beive arisen to the Society, and its ecHaqpilers^ firan

the Psalmody alone, has exceeded twenty thousand dollar!, and ft
is presumed the publishers have been enriched at least as much
more.

' The Society have an organ, which cost them four thousand
dollars, made by Appletou of this city. 'J'heir Hall is spacious
and lighted with gas, and will hold fi'om twelve to fourteen
hundred persons.

'The ScKKiety couists of about one hundred male singers, who
attend the performanoes, about twenty-five female assistants, and
a full orchestra is engaged every season.

'Lowell Mason succeeded Mr. Winchester, as president, [Mr.
Mason assists the Society in the selection of Psalmody for pub»
lication.1

'Thelibraiyof the Society is considerably extensive, embracing
the works of Handel, Haydn, &e. &.

'The following gentlemen compose the govemnEient of the
present year, (1&S4.)

Charles W. Lovett, President.
Jonas Chickbrino, Vloo'President.
Joseph Lewis, Secretary.
William Coffin, Treasurer.
Matthew S. Parker, 1

\ Trustees.

Jonathan Bowditch,
Nathaniel Clark,
Abner Bourne,
James Clark,

Martin Wildbii,
Calvin Bollard,
Jambs Sharp, and
JuBAL Howe.

^ The funds of the Society at present^ including theorgaQj-are
about nine thousand dollars.'

[To be eontiuMd.]

THE NORTONISTES AND THE QAMBATISTES.

A FEUD, not a very deadly, but probably a very noisy, one, haa
been agitating the city of f!lew York. The combatants, in whose
cause so mucn ink has been spilt, andao many angry looks and
hard words ex<^anged« were Mr. Norton and Signor 6amWl>
well known in England as performers on the trumpet Both
seeking that ibrtune on the other side of the Atlantic which they
were unsuccessful in acquiring in Europe, they became rivals in
the country of their adoption, and their mutual animosity ended«
as the reader will find» in hhws. The following account of the
brasen contest betweai the two knifi^hts of the tnw)pe|;, in whic^i
the blasts from England ao decidedly triumphed over those from
Italy, is from the new work, the American Muncoi JwimfiA,
above-mentioned.

' It will naturally be expected by our readers fhitt we should
make some observaticms on the trial of skill which baa lately
taken place between these professors of the tmmpdt We fed
ourselves inclined to do>so, as well from the- nalvre of tbo CQAttst^
as the circumstances under which it took plaee. Mr. Norton is
w^ known as a most able and efl&ctent orobestral and conoorto
(dayer, as a person fully capable to render juslioe to all oompo^
eets, whether of the old or modern school. His educA|iai|« «ne
believe ourselves correct in 8tatine» to have commenced under th^
auspices of his fttther, an eiuseUent musician, master for many
years to the band of the Duke of Rutland, in Eoglandt AS^
being duly initLfeted in music, and having so far progressed as U^
be eefeeemed perfectly able on the instrument which be profiMsed,
Mr. Norton proceeded to London, whete j^r Qeorge Smart im*
snediately' enlisted him in the oratorio serviee, and there Mr. Nor-
ton highly distingui^ed himself, and was the only rival to Mr*
Harper, who was and is eeteemod the first trumpet in Europe*
Mr. Norton was then engaged aa first trumpet at Drury-laiiije
Theatre, and second tnHnpet at the Italian Opera House, an4
afreeing perfectly with Mr. Harper, l^ an arrangement with
that gentleman, he took the second trumpet at the Qratorioe and
the- Kind's Concert of Ancient Music; playing the first at these
distinguished places whenever Mr. Harper's ^igs^ements led
him into the country. At this period it has been reoMU'ked, that
the business of the trumpet was better conduded than ever it had
been prior or posterior to their engagem^xt. Harper's beauti64
precision on the upper part of the scale, and his good taste being
admirably seconded by Norton's power and fine quality of tone
on iha lower notes. The above situations Mr. Norton left vaoaat>
by quitting England for America.

^ Mr. Gunbati for many years played second tnm^ to Up
l^reUier, since dead, and the^wo were esteemed the h^ ovefaMtml

THE MUSICAL LIBRARY.

players on the continent of Europe. These talented Italians were
engaged in Londpn, through the interest of Lord Burghersh, well
known as an amateur composer of great talent and taste^ and they
appeared first at the Italian Opera. They were highly esteemed
for their admirable precision in the band^ and for their neatness
of execution in the pieces which they played together, but serious
objection was made to the inferiority of tneir tone, and they were
found to be incapable of executing the music of the oratorios.
These gentlemen^ at the same time, used a species of trumpet
which afforded them vast facilities of execution, possessing a range
of scale unknown to the ordinary trumpet: We give the scales of
.both instruments, which will render our meaning plain.

Scale of the ordinary irumpet, as used by Messrs. Harper and Norton.

Scale of the valve or keyed trumpet, as used by the Gambatu

#— ^

-#—?"-

' On the ordinary trumpet, as used by the former, the half
notes are made by a slide instead of the hand; on the valve
trumpet used by the latter, the keys, &c. have the same effect.

' It will immediately occur to our readers, that with these dis-
proportionate instrument? the Gambati had an immense advan-
tage, and so they had ; but Messrs. Harper and Norton had this
•to counterbalance it — the great masters wrote for the plain trum-
pet only, and on the upper part of the scale that instrument with
a better tone is as efficient as the valve trumpet — ^the lower notes
have never been written by these masters, and on this part of the
instrument only is the valve trumpet superior.

' It follows, tlien, that the artists still were placed upon an
equality, and for the upper part of the instrument had to depend
only upon their physical and artificial powers combined. It soon
appeared that the Italians could not play the music of Handel.
His songs, 'The trumpet shall sound,* • Let the bright Seraphim,'
and all the music of the Dettingen Te Deum were beyond their
means; to speak technically, they had not lip for if. The con-
sequence was that John Bull found that for the execution of his
revered Handel he must look to home produce, and Harper and
Norton bore off the bell. Tlie events on tliis side of the Atlantic
- are nearly similar to those which occurred in Ijondon. Mr. Gam-
bati had played here with great eclat at the Italian Opera, his
taste, fire, and precision, were much admired, and his concertos
were delightfully executed, but they were written for the powers
of his instrument, and the peculiarity of his lip ; he never was
heard to ascend to the fifth line on any crook of the trumpet, but
sported about below the line, ascending occasionally to the tonic
^n the third space, with infinite taste, but mediocre tone. When
called upon, to play Dr. Ame's song, 'The Soldier tired,' he
. 'transposed the author, and when playing Handel's song, * The
'trumpet shall sound,' he actually was compelled to transpose the
trumpet part a full octave below. To point out the utter destruc-
tion of the harmony to a professor or a tolerable amateur would
be almost an insult to either. At this period, Mr. Gambati beinfir
engaged at Niblo*s Garden, and the editorial corps being as usual
busily employed in puffing that gentleman's entertainments, Mr.
Gambati was described as the paragon of trumpeters, the best,
the first, the only trumpeter, in America, beyond competition, be-
yond compare, &c. &c. Norton, beinor in New- York, thought it
hard that his well-earned laurels should be torn from his brow by
a goose quill, and begged to differ from the gentlemen — a chal-
lenge followed in the papers, and they agreed to meet and have a
trial of skill upon the plain trumpet, Gambati abjuring his valve
and keys, and Norton laying aside his slide. Mr. rfiblo was
happy in the excitement got up by his editorial friends, and viewed
in his " mind's eye " a golden shower produced by the crowds
which would assemble to witness this splendid piece of humbug.
We are sorry to say that these talented artists, swayed by the
lucre of gain, lent themselves to all kinds of degrading ceremo-
--'- »they blew tnmipe^caUi» threw down aod picked up gajuiit-

lets, like knightly combatants of yore, for several evenings, to the
great advantage of Mr. Niblo, the filling of their own pockets, but
by no means to the increase of their reputation, and finally ap-
peared in the lists, so the papers said, umpires being appointed
and a silver cup assigned to the conqueror.

' At length the evening of trial arrived, big with the fate of Ales-
sandro Gambati, or of John Thompson Norton. The event was
novel, the excitement great, and the citizens of this great metro-
polis all appeared interested in the fate of one or other of the
heroes, and the musical community were divided into the *' Nor^'
toninis and GambatinisJ*

'The saloon and ^rden were soon filled, there being more than
twenty-five hundred persons present. When Mr. Gambati ap-
peared, he was received with such enthusiastic applause that we
thought the audience were all Gambatinis. He played varia-
tions on an air in Otello, and the favourite March from Mose, but
there was a sad falling off both in tone and execution, and of
course in the general effect from what we had been accustomed
to hear from this performer on other occasions, when he used the
instrument on which he usually performs. His second piece was
decidedly superior to the first in tone and rapid and distinct arti-
culation, and the effect was beautiful. The piece however was
very simple.

' Norton appeared, and the applause was so tremendous that we
now thought the audience to be all Nortoninis. He played the
first time " Robin Adair," with an introductory movement and
three difficult variations : the second, " Logic o'Buchan," and
" British Grenadiers," and showed that he was as perfect inaster
of the common as of the slide trumpet.

' The umpires, Messrs. Eustaphieve, Butler, and Rief, decided
in favour of Norton, whose superiority was evident; but a spirit
of faction was raised, that, upon a future attempt bein^ made to
extend the humbug, the various friends of the two high contend-
ing powers actually were nearly going to fisticuffs, the press be-
gan to be ashamed of the business they had originally promoted,
wrote against it, and the affair was stopped. Norton and Gam-
bati each clejared five hundred and thirty dollars by their exer-
tions, and thus ended this " gentle passage of arms." '

BENEFIT CONCERTS.

M. Benedict's, Concert Room, King's Theatre,
Wednesday Morning, July 15th.

This gentleman, mentioned in our last as Pianiste de la C<m)r
de Naples, following the foreign custom of visiting a city and
imme(uately advertising a concert, introduced himself publicly as
above. He is a remarkably rapid, neat performer on the piano-
forte, and his touch is equal throughout. His style is light and
brilliant; in what is called expression, he seems to be quite de-
ficient, and we suspect that from one of the rich instruments of
Broadwood he would be able to produce no effi^^t whatever. He
collected all the foreign singers now in London, to aid him;
among them, Madame Malibran and Madlle. Grisi, who sang the
duet, ' Ebben, a te ferisce,' of Rossini, very admirably. A Miss
A. Lindsay, /a pupil of Rossini, ' made a debut, but was so ner-
vous that it was impossible to form a correct opinion of her voice
or acquirements.

Madame Corri Paltoni's, Mrs. Geesin's, and Mr. Card's, at
the Hanover Square Rooms, Friday evening, July 17th.

The first of these performers was known at the King's Theatre
about seventeen years ago, as Signora Corri, and Mrs. Geesin, her
sister, is no stranger to the musical public. Mr. Card is a
flutist at the Philharmonic Concerts, and £dso the Opera. Madame
Paltoni*s voice has acquired strength and fulness from time ; she
now executed two airs in an effective manner. Signer Paltoni,
her husband, who possesses a good barytone voice, and sings in a
pure style, made his first appearance on this occasion. Mrs.
Geesin s voice and manner are delicate, but ill calculated for a
large room. Mr. Card, in a fantasia, exhibited talents which, as
one of a great orchestra, are not distinguished ; they were now
properly appreciated. Madame Grisi, Mrs. Bishop, and Signer
Tamburini sang'; and Mrs. Anderson and Mr. Mori were amed
to the numerous list of porfinrmers.

THE MUSICAL LIBRARY.

REVIEW.

I PURITANI E I CAVALIERI,

A Serious Operas in three Acts; the Drama by PbpolIi the Music by

Bellini. {Milh ; and Cramer and Co.)

' 1. OVERTURB.

. 2. Cayatina, * Ah ! per sempre/
8. Duetto, ^ Sai come arde in petto mio.'

4. DuETTiNo, * A quel nome.'

5. Aria, ' A te, o cara amor talora.*

6. QuARTETTO, * A te, o cara.'

7. PoLAccA, * Son vergin vezzosa.'

8. Ditto, with QUARTETTO.

9. RoMANZA, ' Cinta di fiori.'

10. Aria, 'Qui la voce sua soave/

11. Duetto, * II rival salvar tu dei.**J
.12. Aria; * A una fonte,* .

13. Duetto', * Arturb, si h desso Artur mio ben.*

14. DuETTiNo, ' Credia si misera.'

Wb offered a general opinion of this opera in our last Number ; and
now have to mention it in detail : not that it is our intention to afford
much space to a work which cannot survive its third year in this country,
even should its existence reach so far.

'. The overture is on a par with most overtures of modem Italian operas :
far inferior to all Rossmi's, some of which are full of beauty and effect,
and about equal to Pacini's, Donizetti's, and the rest of the same class.

No. 2 is an aria, for Ricciardo, not a Cavatina, as the composer
terms it. How singular, that even an Italian should not be aware of the
distinction ! It begins in a flat, and ends in o ! — ^and the change of key
is the. most abrupt and disagreeable that can be conceived. From the
words * Bel sogno ' the air is pleasing : the rest is common.

^ No. 3, sung by Elvira and Sir Georgia (!) is of very ordinary feature,
till it passes into f ; then the atr is pleasing and new. The last move-
ment, running chiefly in lOths, d Pordinaire, is lively. The whole is
somewhat long.

- No. 4, for the same characters as the preceding, is like a hundred other
duettini that everybody has heard ; but, reaching the very maximum of
ease, will have a quick sale, no doubt.

No. 5, sung by Ariuro, is an open agreeable melody. This is trans-
posed into A flat, from d, the original key ; and the bars are divided into
six-eight time, instead of twelve-eight, as written by the composer; a
sensible alteration.

' No. 6 is the same as the preceding, with the three other parts added,
sad in d. It is little more than the air harmonized.

No. 7 is the popular polacca for Elvira, transposed from d to b b.
This has been sung every where, publicly and privately, has always met
with an encore, and will soon be on the grinding organs. Thousands
have been circulated, and as many more will yet be sold, no doubt. The
following is the motivo : —

Alio mod. 104 = J

S3j '^/IJjpj^ p

ves • - fa di spo - - saP Son bum- - csy' ed a-

».^r s ri

T^'irffJ-el^ e ^ ^

le, Qnal gi - • • • gUo d'a - pril P Ho

chio - • me o • do • ro - * le, coi cin • - ler toe

jfiJI^^Wu-h ^^

se; Hoil ••' • - no gen

This

ti • - le, d«l bel - - • . tu • o mo - niL

No. 8 is the same, with a vocal accompaniment of three voices,
is in the original key, d.

No. 9 — Sir Georgia again — is as easy, and as common, as the most
indolent and fashionable amateur could have wished.

No. 10, sung by Elvira, when she thinks her lover unfaithful, does
not exhibit a single passage that is new. It is calculated to display the
flexibility of Grisi's voice, and this is all that can be said of it.

No. 11, for the Cavalier, Sir Georgia, and the Puritan, SirBdcciardo.
The first movement, in f, is very commonplace ; the second in a b,
or mostly in f minor, is more original, and effective. It is long, but
dramatic, if any thing can properly be called dramatic in such a lUfretto^

No. 12, an uninteresting song for Arturo, about a troubadour, is only
remarkable for triviality.

No. 13, a tender conversation between Elvira and Artura, contains
nothing that enables us to bestow on it a word of commendation : every
passage, every phrase and cadence, have been written over and over
again, by Bellini and his compeers.

No. 14 restores to us the subject of Mayer's charming air, * Donne,
1' amore e scaltro pargoletto,' which has so animated Signor Bellini, that
he has, out of it, made the best thinff in his opera.

Thus it will appear that the music of I Puritani is generally of a.
mediocre kind, and some of it much below mediocrity : but so far - as
the principal singers are concerned, it is remarkably well performed,
which alone can account for its having proved so attractive ; for at-
tractive it has been, in an eminent degree.

Canzonetta d quatre mains pour le Piako-forte, compose par

F. Mendelssohn Babtholdy, Op. 12. (Chappell.)
This is the very charming, rather whimsically named duet, which ap-
peared in the fifty-fourth No. of The Musical Library,

Trots Nocturnes pour Piano, composes par G. A. Osborne, Op.
15. (Chappell.)

There has been almost a pause, of many months, in the publication of
piano-forte music, and of the little which has appeared we have not
found much wortli mentioning. The present iVbc/ttr?ie«, however, call
on us for notice, and of the most favourable kind : they are very grace-
ful, show the composer to be a good harmonist, are of a modest length,
and practicable to all moderately skilful performers. But a left hand,
commanding a compass of ten notes, is indispensable, — ^as they aboand
in extensions, upon a strict attention to which their effect much depends..
To those who love the elegant rather than the brilliant in music, we
strongly recommend these, the French title to which may be accounted
for by its being a republication of a work originally printed in Paris, -
which capital &e author has long made his residence.

1. La Tendresse, Rondo Grazioso, for the piano-forte^ composed by
Ch. Czemy. (Chappell.)

2. Variations t» a Waltz in Robert le Diable, composed and pub*
lished by the same. Op. 819.

The first of these is an elegant, and by no means difficult, rondo in
e. But though it requires but little of what is commonly understood
by the term execution, yet it will be easy to only experienced performers,
and those who have cultivated a legato style.

Na 2 is a well-known, agreeable waltz, the variations on it neither
extravagant nor new, but all quite within the reach of ordinary players ;
and the work moreover is called a new one, which in most instances
amounts to the same thing as if it were really so.

M. Czemy 's fecundity is quite astounding: — Opera 819! How
many of these works has he already survived? — and what portion of
them will ever survive him ?

Ten Songs and Two Duets, by Thomas Moorb, Esq. (Cramer^
Addison, and Beale.)

Mr. Moore has again taken up the lyre which for some time had lain
neglected, and touches it now as sweetly as in by-gone days, though his
strain is calmer. His passion is of a more sober kind, but what it has
lost in fervour it has gained in reason.

It is meant to be understood, though not so expressed, that the music
of these is by the author of the poetry. Mr. Moore still appears in the
true bardic character, but it will be necessary here to consider him alone
in that of the musician. From the nature of our work we, generally
speaking, can only afford space for an occasional remark on the words
set, and, unhappify for us, it is their absurdity, or their unfitness, to
which (as offering some excuse for the composer) our attention is com-
monly directed. But still greater is our mortification when, as in the '
present case, we cannot dwsU on poetical beauties which have so strong
la claim to particular notice.

TBRiWaaiOAL LIBRABX:

The general character of the^-^melodia is simplicity, in which Mr.
Ifeore e xc e ls , axiA beyon^t he nerer aspires. Btit the symphonies aind
iteompaniments betray some other hand — the experienoed harmonist is
there discldsed, and frequently is too apparent^ from want of keeping.
Even the airs themselves occasionally show the interference of the pro*
£;ssed musician, particularly in the faulty accentuation of certain words
•*^in errors which we think one acquainted with the rules of prosody
would never have committed. But the melodies are characteristic of
the words ; such a poet^mosician could not fail in a point so important
There is less of mannerism in the present compositions than we expected
to meet with, though we find no want of that feeling which is a dis-
finctive feature in all that proceeds from the pen of Mr. Moore.

We will now examine each piece separately.

Balhd^ * If thou wouldst have nie sing and play/ an easy, pleasing
afr, the accompaniment quite of the simple kind. We recommend that
die F sharp in the fifth bar of the latter be changed into f natural ; also
Aat the same note and the n in the seventh bar, be altered to b and c.

fi&nS" of the Ejrile^ ' Night waneth fiist,* a very expressive air,
though the phrases are far from new. The crotchet rest after the word
^stat' destroys the sense of the two first lines ; it ought to have been
used as a muncal comma, after the previous word ' rest' And at page
2, * But ' is quite out of place ; it belongs to the eighth bar ; for
'colder' is the emphatic word, and should have been placed in the
accented part of the ninth bar.

Songy f Upon this sword,' a melody both spirited and tender: but
the martial symphonies and accompaniments are, according to our
theory, entirely out of character.

Song, * Love's victory.' An exceedingly animated air, which would
soon be heard in every house and street, had not the passages of which
it is formed already been used, over and over again, in many different
shapes.

Bailady < Still, when daylight o*er the wave/ in o minor, a most
pkrthetic, lovely, and, we will add, masterly composition ; for music that
goes to the heart declares the hand of a master.
-^ Duett *Mind not, though daylight around us is beaming,' — an in-*
vitation to dance after sunrise. For, says the persuader-^

See voung Aurora up heav'n's steep ascendio
Fretli from her piftow, ev'u she toots

)tsdniciiigT
While thus all creation, earth, heaven, and sea,
Are dancing around us> oh why should not we ?

But the blame, if any, of continuing the ball till Sol peeps in at what is
passing, is not to fall on the dancers, because, argues the poetical special
pleader —

Who'll say that moments we use thus are wasted >

Such sweet drops of Time only flew to he tasted.

While hearts thus an beating, and harps full in tasM,

Xhe fault is all Morning's for coming so soon.

The air is d la FaUe^ and not less agreeable than appropriate.

Song^ ' Let's take this world as some wide scene ; ' an elegant ex-
hortation to make the best of every thing, set to a flowing melody in
the Spanish style.

Song of Hercules to his dmvghter^ ' Founded on the fiible reported by
Arrian (in Indicia) of Hercules having searclied the Indian ocean to
find a pearl wherewith to adorn his daugliter Pattdsea; '—a very grace-
ful, sweet au*, with an easy accompaniment

< BiUlad, *'for thee alone.' Much in the manner of the preceding,
and quite as natural and pleasing.

Ballad, * Calm thy sleep as infants' slumbers ! ' Another gentle,
soothing melody, accompanied by a few soft, simple chords.

BaUad^ * They tell me thou*rt the favour'd guest* The poetry of this
is an exquisitely tender and touching address of a wife to her distant
husband, and the music is admirably in unison with the poetry.

Dueii * With moonlight beaming.* This is in all respects easy, yet
there is much novelty of character, and of a very agreeable kind^ in the
whole of the duet

Added to these, and intended to form a part of the collection, is

A Ballady * Her last words at parting,' sung by Mr. Parry^ ju7i»
for whom it was expressly written by Thou as Moorb, Esq,
» The propriety with which the music and words are here combined is
emitled to every praise, and the air will always gratify by its graceful-
ness, but it can never be extolled for originality. The latter quality is,
however, it would seem, less valued by the many than by the compara-
tively small number of real connoisseurs, - And after all, if the multitude
are pleased with a song, the writer of it may rest satisfied with what he
has achieved.

These Songs and Duets are, we conclude, printed and sold separately,
but to those who purchase the whole, they are delivered in a neat port*
folio, answering the purposes of binding,

FOREIGN MUSICAL REPORT.

BERLIN.

We were much pleased, towards the close of March, by the appearance,

at a concert, of M. Carl Mfilier; this time he came unattended by his

brothers.

The anniversary of Beethoven's dea^ was signalised here in a
splendid manner. The concert devoted to this object commenced widi
the Marcia funebre; after which, W, Krilger recited a speech to the
memory of t)ur great master; this was followed by the - overture? ta
Coriolanus; then we had the overture in e major, and the whole*
concluded with the symphony in c minor, which was both played and
heard with animation.

M. Ries gave a concert o^ the 30th of March, and gamed the most
, hearty applause.

An interesting novelty was the appearance of August Mdser (aged
eight years), at one of his father's concerts. The sprightly little boy
displays great talent ; his father will make him industridus ; and with
these two advantages, we do not see what is to prevent him from dis-
tinguishing himself.

MM. Mtlller and Ganz opened a series of Soirc^es on the 11th of April;
these possess great interest, for we there hear cood and classical muse
played in go^ and classical style. We thinx ourselves justified in
comparing the skill of. M. Ganz with that of M.' Mdller; The latter
played one of Kalliwoda's concertos in a truly master-like manner.

About the middle of April, Graun's Tod Jesu (the Death of Jesus)
was performed in the Garrison church, for the ben^ of the poor. Ther
Vocal Academy repeated this composition on Good Friday. Anetfaecr
of Graun's compositions (a Passions CankdOi composed in IvlSO) hats
since been revived here. It possesses rather an historical thxa a musi^'
co/ interest; it is a* juvenile work of Grauny and consequently inferior
to most of his subsequent compositions.

At the Konigst&dt Theatre, we have had an opera by Auher, calledi
The Coiner, new to lis, though, we believe, pretty well known tO' the
rest of the worid*. As a drama, it is flat enough, being entirely defi*'
cient in prominem^e of character : with regard to tba musk?, it is ia^
Auber^ general style-aplenty of elegant little thoughts, though, by thti
by, it requires considerable attention to find them oat.

VIENNA.

The Italian operas commenced at the K&rnthnerthor Theater on ^ that
4th of April, with Donizetti's Anna Bolena. Mademoiselle 6obtltx*01dett»
took the part of Anna; her fine voice and beautiful figure made a power*
ful impression on the public. Tlie second soprano was taken by Strep»
poni; the tenor by Poggi, and the base {Henry the Ei^M) by Carta--
genova. The wliole was received with the most lively applause.

Mademoiselle Hill, as Rataplan, the Little Tambour, has exctted
great attention at the Josepbstadt Theatre, as vrell by her animated and
lively acting as by her expressive style of singing.

Norma was played at Pavia, on the 29th of April, with great saccets.
The ladies, Theresa Brambilla and Gned, as Norma and Adalgisoy wew^
heard with perfect enthusiasm.

LEIPZIG.

As we have recorded nothing of import for a very long period, we think
we cannot do better than take a retrospective glance at our proceedings,
and bringing them nearer to the present period.

First, we shall mention the transactions of our subscription ooacertlk
(firom the 5th to the 20th and last), beginning with the symphonies and^
overtures which have there been performea» It has long been the-
custom to go the round of Beethoven's symphonies; some of the
favorites being often repeated; though the last (with chorus) not so-i
often as the votaries T>f music could deaiie. At the conceits in question,
we had this master's symphonies in a flat, c minor,. ▲, and f, besides
the pastoral symphony. Of Mozart's symphonies, two, that in o with •
minuet, that in c with the concluding- fugue. Of Onslow's, No.. I. All ^
these symphonies were well, some remarkably well, performed. Wo
have had, besides, six new ones. A symphony by Lachner, who made^
a gceati noise -in- Vienna«.and firom. whom we consequently expected
much. Perhaps this magnitude of expectation occasioned our slight
disappointment A new symphony, by A. Hesse (his third), in^ a.
minora was conducted by its composer, and receivcKi with great app-
plause; which is the move remarkable, as the work is. of an en*--
tirely grave and almost devotional character. Schneider's new syni-'y
phony* (his twentieth) had beeh preiViously played 'at* Dessau, and
with the greatest applause. To say that, this work is one of the most
talented we have heard, we need only mention the name of its expe-^
rienced composer; nay, we rank it higher than any of Schneider's woxka-
that have come before us. Notwithstanding the merit of this symphony, .
notwithstanding the excellence of the playing, the public, on Uie day of^
its performance, were but little susceptible, and the applause was, alas I
but partial. Spohr's fourth symphony, Die Weihe der Tone (the Con*^
secretion of Tones), although it has-been printed at Vienna, was entirely -
new to us. It pleased so much, that, a repetition waaboth desired and-,
given. The jorchestra showed themselves remarkably clever in the ex- ^
ecution of this*'pieoe, which is by no- means easy.* We reckon it as
Spohr's chef d'ceuvre. Of the fifth new symphony, by C. G. Muller
(his third), we can also speak with warm approbaticm. He haschosenM
Beethoven as a models so far as is consistent with an original composes
We regret that we cannot give a favorable account of the receptionto t

• Not to tlis EngJish.^Editor, , . . . "^^

.THE MUBICAL LIBBABT.

,]EaWiroiiP«fMw vjmphonj. Tke voices. wene ceiAaiiily dirjded, «ad tfae
^H^DBBod opmion ««8.fay no BMana /avoraUe,

Xh^ oveituitB fitrformed at the sobeeription caoeeits were as follows :
that to Oberon; to Der Vampyr, by Marscboer; to Fin^aiihoUe
((fiJDgai's Cava) ;. tke Weihnachi's Cherittre (Christmas Overture), by
dOtto Nicolai ; that to Ifkhtvia^ by Gluck ; to Fidelio ; to the Sahioss
mm &mn (Casile on the Khine), by Jul. Otto, this was new; to Ofrio-
:hmus; to the FeUenwuUe (Mill on the Roeks) ; and a new one by
^Beissiger^ not to Parandot, as the bills mistnforBiCMi us ; the overture to
FMUt^ by Iiindpaanter (new); a Jtite/ Overlxme; that to The Vesialj
iaod to WUiiam TelL

So nmch for the symy^onies and overtures; the solo players who
-jperfonned at these coneeits were: — 1. The organist ftom Breslaw, M.
fAdolph Hesse, who played a- new concerto cf Us own on the piano; a
Kdever composition, .though not brilliant; it .was received with ap-
plause. 2. M. Matthai, who played a pleasant concerto for theviohn,
fwhish iie had composed with his. usual ability. .3. M. Leonhard, who
successfully played jBeethoven's piano-concerto in o. major ; he has also
,pkyed Mosart's concerto in . c mkior, .which did not. generally please.
4. M. Hager, the violinist, from Cassel; Beriofs variations, which he
"olayed^ are not of the £ist order. 5. M. Inten, who^distinguisbed himself,
ioft the first time, as a £igoltist, in .a new concertino, by W. Haake.
6. M. Eisner, who most brilliantly displayed kls masterly skill on the
(homi, in a new concertino, by Lindpaintner^and in an excessively difficult
composition of his own, which was received with tumultuous applause.
77. 'M. Mebnert, a young ariisie on the clarionet, who played an adagio :
•with variations, by J. Beer (new), and met with approbation. B. M.
f Uirioh, a member of the orchestra, who, in ah introduction and varia-
\tions by Lubin (new), showed the great prc^esshe had made, in his
Already distmguished violin phty, which the audience acknowledged by
'^heir applause. 9. M. Cipriano Romberg, a pupil of his uncle, who
showed himself in every way worthy of his master; he played a con-
:certo and a fantasia of his own compositicm, and met with the most
tlively approbation. 10. M. Haake, who pUyed.a concerto Polonaise
Jii \m own on the flute, and was well received. 11. M. Winter, who
gave a concerto on the violin by Kalliwoda. 12. Mademoiselle
Schmiedel from Dresden, a pianist, who played' Moscheles' Souvenirs
d* Monde and Pixis*s .military fantasia with considerable skill and
success. IS. M. Franz Poland,.. who gave, on the violin, some varia-
tions by Mayseder, with great tact, and with good, thouffh somewhat
Frenchified, taste. He also played, with his brother M. Johann Poland,
a new divertimento for two violins by Wassermann, with equal success.
This brother is not above sixteen years of age.

WARSAW.

Xsifont's concert was well attended here ; the number of the audience
was about nine hundred and eighty ; they were chiefly delighted by. his
masterly variations in a Swiss air.

PARIS-

Meyerbeer^s Margaret of Anjau has heen performed with great ap- '
plause at Besan^on*

A concert was given, a short time smce» at Toulon, for the benefit of
the poor ; at which Neukomm performed several of his sacred pieoes. ,
One of Grenie's organs was also heard there.

The name of Boieldieu is, as it seems, not altogether lost to the
musical world. Adrian Boieldieu, the son of the deceased, played at .
JSouen an overture with full orchestra, and met with great approbation.
He was called for at the end of the piece, and the great modesty which
he testified redoubled the applause of the audience.

Mesdames Malibran and Taglioni divide between them the enthusiastic
japplauseof the London pubKc. The phlegmatic islanders have.no
breathing time. No sooner do they recover firom the fits into which
the roulades of Amina throw them, than they are raised to the third
heaven by an entrecJuxt from La Sylphide, It Is said that Madlle.
Taglioni's engagement in London is at the rate of 6,000 francs a- night,
^independently of a benefit guaranteed at 26,000 fVancs. ' [Weean assure
the French editor, that, crazy as we must appear, and really are, in our
engagements with f<M:eign performers, we are not yet so raving mad as
he thinks us. About one-thiid of the. sum named is preposterous
"enough, but nearer the troth.]

Donizetti is consoling himself for the rebuke he met with in Paris :
last winter, by the success of his new opera, ' I/^^o, Conte di Farigi^ at '
the theatre Dei Rivivati, at Paris. He waaaUy supported by Doncelli
'and MadHe. Taccfainardi'Persiani.

A celebrated violoncellist,' M. Werner, of Yiemajir arrived at Paiis,
and means to appear in oua summer concerts.

We mention with pleasure. a fresh proof of the yrograss making
ev c r yjwh ei c by music. Our western dejMjrtments^are rivalling those of \
the south in their musieal festivals. . AigrUnd association is formed i
between the philharmonic societies of Niort, Poitiers, Rochelle, Saint- .
Jean d'Angely, Fontenay, Saintes» Rochefort, d*Augoul6me, and Cha-
lillerant. This association, almost colosW, commeiiosd its pcooeedinga I
at Niort by a grand solemniw, on Whitsun-eve. The band. consisted,
of ninety-six performersi and the chorua>3of««ight]r«. xBight.hu^diBd.

amkteurs had alreaiSy entered thehr names, as^idb'serihers to this iiAititu-
tion. Thus the zeal of the citizens in encouraging the Fine Arts, whidi
are die glory of a country, compensates for tl^ negkct of the govera-
ment.

The Opera is frfaced under a new director ; M. Dupouchel has as-
sumed the reins of this vast establishment The first work produced
under his management will be M. Meyerbeer's new opera, which is
actively rehearsiBg.

VENICE.

Madame Malibran concluded her residence here with a charitable actiop.
The proprietor of the Teatro Emeronittio had requested her to sing ^nee
at his theatre; *I will,* answered she ; *but on this condition, that not
a word is said about remuneration.' The poor man was saved from
ruin. The character she took was Amma m LaSonnambula; she was
visited by throngs. The applause lasted a full half-hour; enthusiasm
arose almost to infatuation. When she had arrived home, a vast multi*
tude assembled round her residence, <who sent in delegatee re^iuesting a
shoe and a glove; tliese were. obtained, torn inta small pieces, and dis-
tributed among the. populace. The Teatro Emeronittio is ^now called
the Teatro GarciiL (A^ • poor Venice !)

WASHINGTON.

Mrs. Austin and Mr. Walton have .performed in. some, finroiurite operas
in this city, during a short engagement, which terminated en the 24th
of January. .....

At Washing^n, Mrs. Aiisti;!,* in coi\juhc^ion ,with,Mr. Walton, pro»
duced the Tempsst^ the Beggar* t OperOt .and ,Muiic and Prejudice^ to

crowded houses.

BALTIMORE.

The Halliday-street Theatre opened on the 5th of January, with die
play of the Tempesiy the parts of Ariel and Ferdinand being sustained
by Mrs. Austin' and Mr. Walton. A succession of musical pieces fol-
lowed; among which vfere. The Beggar s Opera^ The Duenna^ Ab&n
Hassan^ Music and Prejudice, &c.; the principal characters being
sustained by these performers.

On the 19th of January, the opera of Cinderelia'WM produced, for
the benefit of Mrs. Austin, with the following cast of the principal cha-
racters: — Cinderella^ Mrs. Austin; Prince, Mr. Walton; Dandini^
Mr. Still ; the Barony Mr. De Camp.

A Grand Oratorio took place on Thursday, the 15th of January, the
following being the programme :— -

PARTI.

Overton to Glemeaia di Tito • « MoaAsr.

Solo, * Angolt evsr bright sad fair * . . HiwnaL.

Duet, 'Graceful consort* . • . Hauui.

Solo and Chonu, ^ All gloiy be to God oa hish ' Havun.
Quartet, four male ▼oicea, * IncliRe thine ear, O Lord '^ Gillbs.

GiandChoruB, * The HeaTeae declare' • Harmr.

PART IL

GtaodChofue, < The Creed' • • Airomk

Solo, 'With verdure clad* • • • Baton.

Benedictus— from the Requiem • • • Mosart.

Soprano Solo, 'O! Ziop, O! Jemtalem* • R.Garb«

Quavtet, for four male voices, 'The Chapel * • • KjuutwIu
Grand Chonu, ' Father, to thy pnise .and gloty * Meajtiff.

A Grand Concert was given on the 22nd of January, in the Saloon of
the Athenaeum, by Sig. Giovanni Fabj, first tenor of our last opera com*
pany.

Mr. C. E..Hom gave a Coneert on Thursday eveniog, the 29th of
January ; he was assisted by his son, Mr. C. Horn, und by Mrs. C.
Horn.

PHILADELPHIA.

A. Concert waa given by the Philharmonic Society, on Tuesday event-
ing, the SOth of December, in the Musical Fund Hall. It was numer*
ously attended, and afforded universal gratification.

Another Concert took place on Tuewla^ evening, the 27th January.

The Philadelphia Sacred Music Societv announce a Concert for
Thursday evening, the 29th January, at which the principal parts of
Haydn's Oratorio of The Seasons is to be performed.

The Musical Fund Society announce a Concert for Thursday, Fe-
bruary 5th.

Chestnut-street Theatre. — ^M^rs. Austin has produced lii^WhiteLady^
Boieldieu's fine opera, at this house, with complete success. She toolc
for her farewell benefit The Tempest. Cinderella^ the White Lady%
and Masaauelio have aU^ in turn,, been AcU)d.

ALBANY.
Another Oratorio was given by that public-spirited institution, the
Albany Sacred Mudo Fund Society, onThursday evening, January 15tt,
for.the benefit of the Orphan Asylum, and we are. glad to eee that 4t
was not given in vain. The Treasurer of the Asylum acknbwledgei the
re<feipt of 801 doL 25 cenl.

BOSTON.

At. the Theatarea there has been nothing of much interest during the

THE MUSICAL LIBRARY*

Hdndel and Haudn Saciefy.— 'This Society performed the whole of
Ae Messiahs whh the additional accompaniments of Mozart, on Sunday
evening, December 28th ; and again on Sunday evening, January 4th.
Haydn's Creation was perfcnrmed entire on Sunday evening, Januarv
ISth ; and affaiu on the 25th. As this Society has a powerful and well-
disciplined chorus, and at its performance is assisted by the full band of
the Tremont Theatre, the lovers of the majesty and grandeur of Handel,
and of the grace and brilliancy of Haydn, were both afforded the
highest gratification by these performances.

On Sunday evening, the 22nd February, Washington's birth-day, the
Handel and Haydn Society gave an oratorio, and produced C. £. Horn's
Ode to Washington^ for the first part The second part was comjx)sed
of selections. There were three pieces selected from the oratorio of
Davids composed by Neukomm, instrumented by G. Zeuner, organist of
the society, and very well done.

NEW YORK.
Italian Opera, — ^The Italian Opera is again in operation in New
York, and, we sincerely hope, in the full tide of successful experiment

Rossini's opera, VAssedio di Corinto, was produced, for the first time
in this countiy, at this house, on the 6th of February* It was cast as
follows:—

Maometto II. • ' • • t • Signor Porto.
Cleomene •..••.•• Si^or Rataolu*

Neode • • • • ^ ^ Muw Julia Wheatlst.

Omar • Signer Momtsbasi*

Adratto • Signor Sapionoli.

Pamira •••••# SignonDa G. Fanti.

Ifmene • ^ • • » • Signorina it Famt<p

lero • • • • • • Signor FuABBO.

The managers deserve great credit for the care and liberality with
which thepiece is got up. The dresses are new, elegant, and appro-
priate. The scenery at this house has always been of a superior kind,
and displays ingenuity, taste, and skill in workmanship. The scene in
which the Greeks are seen on the citadel of Corinth is well managed,
much better than in either London or Paris, we should imagine, from
the accounts we read of the performance of this opera in their journals.
The opera has, with the exception of two or three very stormy nights,
been well attended; and on the 18th and 25th instant, when Miss
Wheatley and Signer Ferrero had their benefits, the house was quite full.

On the &4th ultimo, Mr. Young was announced at the Park Theatre,
to perform a concerto, for the first time in America, on the keyed ser-
pent. The instrument which Mr. Young professes is, in reference to a
military band, exactly what the double-bass is to that of an orchestra.
The serpent is the last instrument in the world we wish to hear figuring
in a concerto within doors. Mr. Young really plays beautifully, and to
the upper notes of his instrument he imparts the softness of a bassoon.
We consider it a pity that a man of such decided talent should waste
his time on so unprofitable a study.

The uncommon partiality our citizens manifest for the noisy part of
the orchestra has been lately much commented upon by strangers.
The trumpet and- trombone occupy, in our concerts, the posts of honour.
True it is, Mr. Norton and Mr. Gambati are excellent performers; but
we hear them in concertos too often. In England, they have Harper,
a first-rate truinpet; and Germany has Schmidt, the best trombone that
ever existed. This gentleman visited England, and was heard occa-
sionally; but, at Niblo's garden, we will undertake to say that more
trumpet and trombone concertos were played last season, than have
been heard in England or Germany for two years. If^Mr. Young adds
himself to this triumvirate next season, we may fairly expect that New
York will be blown away.

As we are almost without any national music of our own, we regard
it as of the utmost importance to our future musical career, that we
should derive our ideas of musical excellence from the purest sources,
and that we should become familiar with the best models of musical
composition. For these we must principally look to Italy and Ger-
many, the two countries that have made the greatest advances and con-
tributed the largest share towards carrymg Uiis art to its present high
state of perfection.

A portion of our citizens have built one of the neatest theatres on
this side the Atlantic, and have devoted it exclusively to the purpose
of operatic representations ; these, with others, have gone still farther,
and now, to ensure its permanent continuance, have guaranteed the pay-
ment of all expenses incurred.

If the present company is not so good as is desirable, still they form
the nucleus of a better, and should therefore be kept together. Arrange-
ments have been made to procure firom the Havana, Pedrotti, Montres-
Bor, Fomasari, Orlandi, and the leader, Rapetti. To ^ive more variety
to the performances, the managers are about or^nizing a corps de
ballet, under the direction of Mr. Bennee, late principal dancer at Covent
Garden Theatre, London, who has been engaged as ballet master and
first dancer. The orchestra is composed principally of the same per- I

formers as before, and now, with the leader, consists o f sev en violins,
two violas, two violoncellos, two contra bassos, two flutes, one flute for
the oboe, two clarionets, one bassoon, two horns, two trumpetsi threo
trombones, and drums.

The house re-opened on Friday, the 21st of January, with UJnganno
Felice^ and the second act of Edoardo e Cristina, These pieces were
repeated on Monday the 26th ; and on the 28th, LInganno Felice and
the second act of La Straniera were performed. No performance took
place on the 80th, the house being closed to give time for the pre-
parations necessary to produce Rossini's opera L*Assedio di Corinto.

Park Theaire.-^ino^ our last report, opera has been the principal
attraction at this house. On the 6th of January, Native Land was
revived, and performed for the first time in seven years. Various other
operas were given during the month, the principal of whkh were the
Barber of Seville^ with all the original music as arranged by Mr. Pen*
son, and Cinderella.

Concerts. — Mr. Boucher, leader of the Opera, gave a Concert on the
13th of January, which was full and fashionably attended.

Mr. H. J. Truss gave a Concert on Friday evenmg, the l6th mst,
at Brooklyn.

Signer and Signora Maroncelli's Concert took place at the City
Hotel, on the 22na of January. Miss Watson, Signora Maroncelli, and
Signer Ravaglia save some of their best songs.

Mr. Gambati's Farewell Concert took place at the City Hotel, on the
27th of January.

A splendid vase, which was presented to Mr. Gambati, by some of
his friends, after the Trumpet match at Niblo's last summer, was exhi-
bited between the parts; for what purpose this was done, unless as a
piece of humbug, we are at a loss to conjecture, as it was publicly
exhibited previously at Mr. AtwilPs store in Broadway and at Niblo's.
Mr. (jambati denominates this a farewell concert, as he intends to be
absent from the city two or three months.

Oratorio, — ^As we announced in our last, the New York Sacred
Music Society gave an Oratorio on Thursday evening, January 15, the
object of which was to raise funds towards the erection of a new organ*

THE DRAMA.

EiNa*8 Theatre.
Since our last, nothing new, either in the shape of opera or per*
former, has been produced. The theatre has continued to fill abundantly
every night, and some benefits have been taken, all of them successful
ones, — ^real benefits. The season will close the middle of this months
when forty-five nights will have been given, instead of sixty, the usual
number; though no abatement whatever has been made in the sub-
scription ! But if the subscribers have a passion for paying exorbitant
and unnecessary prices, M. Laporte shows his good breeding m indul-
ging them.

English Opeha-House.
Marschner's opera, Der Vampyr, produced at this house six years ago,
has been revived, but not, we are persuaded, with the least chance of
aiding the finances of the theatre. It is a laboured and by no means
clever imitation of Weber, whose instrumentation he almost burlesques,
stunning the audience with noise, and affording the tired ear scarcely
any melody as a relief. A single chorus, — ^the idea borrowed from the
composer of the Freischutz — saved the opera at its first performance ia
London, but being no longer new, will not now sustain so dead a weight.
Besides which, the public are heartily sick of damsel-devouring heroes,
and diablerie is losing all its attraction. Hence the Freischiktz has
been performed here twice or oftener during the last month, but to half-
filled benches.

TO BEADERS AND CORRESPONDENTS.

Wa can asran < Jn Ammuwr^ that vocal muBie is quite as much in request as
inetmmental. We think hishly of the gentleman named, but believe that neither
he, nor any one else, assisted the director in the instance alluded to*

We thank H, W. for his hints concerning Handel*s operas*

Tha < Hull Festival ' was hardly * a critique.'

We ought long since to have acknowledged^ with many thanks, &> Gf* S*MC%
suggestions*

* Om ofthi Subt'.ribfrw to tht Mumeai librari/ > is so exceedingly eccentric, that w«
really do not know how to answer him.

The madrigal recommended by ^ HdrwwMi* shall certainlr appear.

One of the compositions recommended by * A Qmtttmi Stibionbfr,* Ac is copy*
right* Wt thank our corre^ondcnt for his corrections*

Erraia in ew /ssf*
Fsge 67, column 1, line 36, for lii read m.
if f% „ I, „ 13 from bottom, for Stmkru lead 3l^«}iicpiii .
If 7^1 If ^ u 4» add «A« after omT.

LONDON: CHARLBS KNIGHT, 28, LUDOATB STRBBT.

fmann vt Wt GLOWBi and S0N8| Dun SnaaT,

MUSICAIi lilBRARY.

Monfblyi Supplement

No. XVIII. SEPTEMBER, 1835. Price Sixpence.

Th«Mu»icof'PartXVin/ sT

SngUsh Operas 86

On the Flute • . 88

Ciirioui Fact concerning the Flute ... 88

CONTENTS.

Improrement in Kettle Drums •
The Telephone of M. Sudre
American Musical Societies . .
Toast of the Zerbst Vocal Union

Psffs

88
, 89
, 90
. 91

Review ..••...•.•• 91

Foreign Musical Report 93

Drama ••••..••••. 9ff

THE MUSIC OP PART XVIII.

Divertissement — (Page 125),

Selected from Himmers Op. 30. The metronomic figures show
the times in which the three movements were played by the
composer himself, but they may be slightly moderated by those
who cannot neatly execute the passages with the degree of quick-
ness indicated.

Larghktto— (Page 130).

From Haydn's symphony in g. No. 3 of Cianchettini's edition in
score, and that which was chosen by himself to be performed at
Oxford, under his own direction, when the university conferred
on him the honorary degree of doctor in music* It is one of
Haydn's earlier symphonies, written for no brass instruments,
except horns, and is throughout as remarkable for elee;ance as for
originality. It is occasionally performed at the Philharmonic
Concerts, and the present movement generally is called for a
second time.

The Marquis of Granby's March — (Page 134).

The name given to this March is familiar to all who are ac-
quainted with English history. The music we found with words
set to it, as a song, and in a very simple state; but the striking

* M. Beyle, who, under the assumed name of Bombet, published in 1814 LeI/ret
iur Haydn, &c., which in 1817 appeared in an English garb, tells us that the uni-
versity sfit/ him a doctor's diploma, (iui etwoya It d&pUimt de docteur^ and that cus-
tom requiring him to produce an exercise, he presented a canon which might be
tnng backwarids or forwards, or by turning it upside down, — statements as erroneous
as many others that appear in the same work. The fact is, for an honorary degree
no exercise is required, and it was a compliment paid by the umversity to Haydn, to
request the performance of one of his works. The English translator of the Letters
has sanctioned this error by printing the canon, which certainly was produced &t
Ozfordi but not for the purpose stated. As a musical curiosity it is here inserted.

:^f3^

■pci

X2:

^r-^A-

-^'

Thy yoice, O Har -mo - ny, is dl - vine.

•Tine, di- is ny, • mo - Har O voice Thy

-Or

ZSL

Xqx MTOA o '•H - om - *Xn si -ip *dnu-

eniA • tp t| *£ni - on - xvh 6 '^fOA iqx

jss:

^=§1

FFF^

^MJjjijjrvng^^

character of the melody, and the spirit of the original, which was
discernible, notwithstanding its vocal disguise, induced us to
modernise the composition ; or, rather, to restore it to what we
imagine to have been its first form, which, doubtless, was iustru-
jnental. The few notes added for the flute are quite ad libitum ;
and with a slight alteration, may be played by a third hand.

Introduction and Andante — (Page 135).

Prom the eleventh of Handel's Twelve Grand Concertos, com-
posed in 1737. We have taken a portion of the first movement
as an introduction, together with the whole of the very melodious
andante^ as performed at the Concert of Ancient Music. Much
of this is, in the original, written for two violini principali.

Vol. IL

Air with Variations — (Page 140).

The air is ' Non v' ha sguardo/ sung by Anna Bolena, in Act 1.
Scene 3, of Donizetti's opera. The variations, by Plachy, are
selected from several written by him on this subject

Chorus op Peasants — (Page 125).

Come, gentle Spring ! etherial mildness, come !
From out her wint*ry cave bid torpid nature rise.

Not yet bath Winter closed his reign.

But deadly frosts at his behest

Assail each shoot and leaf,

And strike with icy, killing hand.
Come, geptle spring ! with zephyr in thy smiling train,
And cheer our drooping hearts. O come ! come ! come \

Tlie opening chorus of Haydn's Seasons. The Baron von
Swieten, who wrote the text of The Creation, also compiled the
words, partly from Thomson, of Die Jahrezeiten, or The Seasons,
for his friend the composer, then translated them into English.
As we feel authorised to differ from the Baron on certain points
touching our own language, we have taken the liberty here to
make alterations in his version which appeared to us to be abso-
lutely called for, and can only express our astonishment that
such mistakes — not at all surprising in a foreigner— should so
long have been sanctioned at our concerts and music-meetings.

Song— (Page 132).

When I roved, a young Highlander, o'er the dark heath.
And climb'd thy steep summit, O ! Morven of snow,*

To gase on the torrent that thunder'd beneath.
Or the mist of the tempest that gathered below ; f

* Morven, a lofty mouniain in Aberdeenshire. *Gormal of snow,' is an expres-
sion fre^ently to be found in Ossian. — Byron.

f This will not appear eztraordinaiy to those who have been accustomed to the
mountains. It is by^ no means uncommon on attaining the top of Ben e vis, Ben y
bourd, &c., to perceive, between the summit and the valley, clouds pouring down
rain, and, occasionally, accompanied by lightning, while the spectator, uterally,
looks down on the storm, perfectly secure from its effects.-— ifynm.

THE MUSICAL LIBRARY.

Untutor'il by Bcience, a stranger to fear,

And rude as the rocks, where my infancy grew.

No feeling, save one, to my bosom was dear,

Need I say, my sweet Mary, *twas centred in you ?

Now splendour has raised but imbitter'd my lot,

More dear were tiie scenes which my infancy knew ;

Though my hopes may have faiPd, yet they are not forgot ;
Though cold is my heart, still it lingers with you.

The words are part of a song by Lord Byr(m ; the n|iisic>
originally set to Grerman poetry, is by

ADALBERT GYROWETZ,

a distinguished German composer, whose works have not ob-
tained the notice out of his own country to which their merits
entitle them. He was born at Budweis, in Bohemia, in 1765,
and received his education in Vienna and in Naples. In about
the year 1790 he came to England, but stayed only a short time.
In 1804 he was appointed imperial kapellmeister; and was living
in 1827, when he was a pall-beajer. at the funeral of Beethoven.
His compositions are numerous in every class, and show him to
be an accomplished, ingenious musician.

Glee— (Page 134).

Go, happy heart ! for thou shalt lie
Intomb'd in her for whom I die.
Example of her cruelty.

Tell her, if she chance to chide
Me for slowness, in her pride.
That it was for her I died.

From The MadLcfoer, a tragi-comedy by Fletcher; or, according
to some authorities, by Beaumont and Fletcher, jointly. The pre-
sent are the first two stanzas of five, of which the brief poem— a
piece of burlesque, by-the-by— consists, and are addressed by
Polydor to CaUs, in the third act of the drama. The music
(composed for this work) is by Mr. Horsley.

Song— (Page 136).

Tell me, lovely shepherd, where
Thou feed'st at noon thy fleecy care ?
Direct me to the sweet retreat
That guards thee from the mid-day heat.
Left by the flocks I lonely stray
Without a guide, and lose my way.
Gentle shepherd, tell me where
Rest at noon thy bleating care?

From the Serenata of Solomon, written by

EDWARD MOORB,

the son of a dissenting clergyman, and bom at Abingdon in 1711.
He was brought up to trade, as a wholesale linen-draper, but
soon quitted business, and devoted himself wholly to the muses.
In 1744 he published his well-known Fables for the Female Sex.
After this appeared SeUm, a poem, and two comedies now for-

Sotten. But in 1753 he produced The Oamester, a drama which
as long kept possession of the stage, and probably wiU never
quit it while an audience can be found to listen to tragedy. In
the same year he began his celebrated periodical paper. The
World, which was continued in weekly numbers rather more than
three years, and only terminated with his life. He died in 1757.
The Serenata of Solomon was set to music by Dr. Boyce, and
is alone sufficient to stamp his fame as a composer of the first
rank.

Duetto— (Page 138).

Paolino, Deh, ti conforta, o cara,
Seguimi piano piano.

Carolina* Stendinni pur la mano,
Che mi vacilla il pik

Due, Oh che memento h questo

D' affanno e di timore !
Ma, qui dohbiam far cuore,
Che altro per noi c' h,

Paolin<K Zitto ! — ^mi par sentire —
Si sentQi— un uscio aprire.

Xhie*^ Potrebbe alcun venire^

Si tardi un po' a partir*

This is a part of the most interesting scene in the most charming
and popular of Cimarosa's operas^ II Matrimonio Segreto, a drama
taken from the Clandestine Marriage of Colman and Garrick.
Paolino and Carolina answer to the characters of Lovewell and
Fanny. The young couple, finding that their private marriage
can no longer be concealed, are preparing to-take flight from the
lady's paternal roof, and when on the point of departure, sing the
present duet, in which Paolino exhorts Carolina to have courage,
while she desires his*, support, both agreeing that in so critical
a moment firmness is necessary. However, hearing a noise, they
resolve to pause, and here the duet ends. They are discovered—
a denouement takes place — ^the father's resentment evaporates in
a few angry words, and all terminates according to th^ established
rule of the comic opera.

The original is in the key of c, but as this carries the uj^r
part beyond the compass of most voices, it is now transposed a
third lower.

Romance — (Page 142).

Ah ! lorsque la mort trop cruelle

Enleva ce fils bien aim^,
Jacob, dans sa douleur mortelle,

Yit son triste coeur consume.
Afin, de consoler men pere,

On m'ofTrit un jour 2i ses yeux,
£t Jacob, dans mes traits heureux,

Crut revoir les traits de mon fr^re.

Dans les beaux jours de mon enfance

Ce bon p^re m'accompagnoit,
£t de sa iendre bienveil lance,

Comme Joseph, je fut Tobjet.
Si sa tendrcBse me fut ch^re^

A mpn tour je suis eon appui,
Et je puis lui rendre aujourd'hui

Le coeur et I'amour de mon fr^e.

J'ai su de ma famille enti^re

Ce que de Joseph on diaoit :
II ^toit pieux et BincSre,

AuBsi tout le monde I'aimoit.
Moi, pour consoler mon vieux p^re, *

Pour qu'il me ch^risse encor plus,
Je veux acqu^rir les vertus

Qu'il regrette encor dans mon fr^re.

From Joseph, ou Jacob et sesfils en Egypte, a sacred opera by
Mehul. These sentiments are uttered by Benjamin. The scrip-
tural narrative is, of course, familiar to all our readers, and need
not be repeated in our pages.

ENGLISH OPERAS.

To the Editor of the Supplement to the Muneal Library.
Sir, — ^The English Opera House has been prematurely closed.
As it is impossible not to connect this occurrence with the subject
of the correspondence published in the "Supplement" for July,
and there are, moreover, some circumstances which appear alike
to have escaped the apprehension of Mr. Arnold and his adversa-
ries, you will possibly allow me a word upon the subject. That
musical genius, any more than genius of any other kind, requires
monopoly and exclusion to ensure it fair play, is a doctrine so
extremely repugnant to truth, and the very spirit of the fair play
which it claims, that I siirely need not waste a word in exposing
its fallacy. Upon this monstrous proposition, however, does the
present appeal of the British musicians to the public mainly rest ;
the case of these gentlemen being, in this respect, precisely that of
the British silk -weaver: both have been driven from the field of
competition by the foreigner, and both are in consequence calling
out for "protective laws," that is, for monopoly of the market.
For, let us ask the "native composers," in what other way they
would compel people to listen to what they dont like, in pre-
ference to what they do. As long as the public choose to prefer
foreign music to their own, it is not setting up national operas or
exclusion societies that will make them do otherwise; the only
method of effecting this, being the same as in the case of the silk-
weaver, or the monopolist of any other commodity, vi«., a total
prohibition of the foreign production. Hwe, therefore, in a word,
we have the true nature of the question. " Let the foreign com-
posers,'* exclaims Mr. Rodwell in his pamphlet on the Establish^
ment of a National Opera, " Let the foreign composers keep to
their own sphere, the Italian Opera House, &c. ;"-^tbat is, let

THE MUSICAL LIBRARY.

them be confined to an establishment which^ from the system that
at present governs' it, is about as accessible to the public at large
as it is to the inhabitants of the moon. And again, I observe, by
the " Correspondence/* that Mr. Arnold is threatened with the
loss of his licence if he produces operas by any but native com-
posers. If such be the nature of his contract with the Lord Cham-
oerlain, he may be said to be fairly placed between Scylla and
Oharybdis ; for it must now, at leasts be quite evident to what
situation the native writers would brin^ him were he left at their
mercy. The decency of such a threat m the teeth of the injury to
the theatre from the repeated failures of the present season, must
be manifest enough. In the mean time, why does not the self-
styled *' popular composer," who writes thus, tell the public his
name, that they may themselves judge of his claims to popu-
larity? Well does Mr, Arnold exclaim that his ''Appeal is
neither graceful nor modest." We are further informed by this
writer, that, even if successful, he can get nothing from the
theatres for his music ; but would he be called upon to share the
loss in the event of a failure ? I rather think not. Let Mr. Tutton,
however, or Mr. Packer say if it be so. And again, we are told
thatj in the present state of the trade, no composer, however popu-
lar, can get a fair value for his copyright ; but what is that state
of the trade which prevents it ? Surely a little more explicitness
would be desirable, or the public will very naturally conclude that
the only reason that publishers will not purchase " popular com-
posers' " copyrights is, that they can get no returns upon them ;
in other words, that the composers are not popular, and therefore
can get nothing for their music.

In comparing the condition of the ''British musicians" with
that of the British silk-weavers, I will, for the present, pass over
the well-known fact of the silk-manufacture having improved ever
since the opening of the foreign markets, although I hold such a
fiact to be closely applicable to the present question. But let me
remind these exclusionists of some other things which, in their
eagerness to obtain the public sympathy, and to make out a case
against the proprietor of the English Opera, they seem to have
completely overlooked.

This theatre was originally opened for the encouragement of
native talent, and the truth is, that for nine years the native com-
posers had exclusive possession of it, and what did they do ? Why
they kept it upon the verge of bankruptcy, from which the talents
of Miss Kelly, not those of the " British musician," alone saved
it during this long period. At length the proprietor, in order to
save himself from impending ruin, is compelled to have recourse
to foreign music; and forthwith the outcry is raised that the
native composer cannot obtain a hearing, which, to be sure, is
true enough. In opening his theatre, however, to foreign compe-
tition, Mr, Arnold took the wisest step that could be devised for
the ultimate and true interests of English music, as the compara-
tive success of the renewed experiment of last season will alone
abundantly testify; and it is remarkable that of the three justly
successful composers of last year, two (Mr. Loder and Mr. Thom-
son) have declined identifying themselves with this self-betraying
cry for monopoly ; whilst of the three unsuccessful ones of the
present season, two (Messrs, Tutton and Rod well) have been
among the noisiest in promoting it, — thus affording a most signi-
ficant comment upon its nature and purposes.

In Mr. Rodwell's pamphlet there is an estimate of the average
receipts to be expected at the proposed " Grand National Opera."
These, it seems, are to be 200L nightly. Now, as this is a state-
ment upon the correctness of which the chances of success to the
new establishment, and consequently to the cause generally, must
mainly depend^ what if Mr. Arnold were to publish an account of
the sums actually received at the old theatre during the nine
years above mentioned, at the performance of any of these gentle-
men's ''operas" that chanced to be unaided by the talents of
Miss Kelly ? This would be no more than justice to both parties,
and would^ I repeat, enable the public to come to a clear under-
standing upon the chances of success to the new theatre, which, it
seems, is to be raised by public donations, — a circumstance that
would render such an estimate particularly desirable; and one
may express some surprise that Mr. Arnold has not^ ere now,
been chsillenged to produce it, as the paramount importance of
establishing the correctness of Mr. Rodwell's statement must be
4>bvious. But we shall doubtless be told to make our calculations
upon this subject from the events of last season. But if the events
of last season did something towards shaking the prevailing notion
that there is not, at present^ suflkient native talent to support.

unaided, an establishment of this kind, the transactions of the
present season, thanks to Mr. Rod well among others, have done
at least as much to give the like opinion currency again. The
fate of the " Grand Jfational Opera," in short, may be very con-
fidently surmised, without the aid of any further estimates than
what people's common sense will help them to, with the facts
already in their possession.

Mr, Arnold tells us that an endeavour was to have been made
to crush his attempt to repair the effects of the recent feilures by
the reproduction of the Sonnambula. If so, it would be as weU
to know the authors of this scheme, or, at least, the quarter
whence the threatened attack was expected. Had the Society
of British Musicians anything to do with it? If it had, it has
afforded the public another edifying comment upon its proceed-
ings, seeing that the three lions, Messrs. Packer, Tutton, and
Rodwell, who have brought Mr. Arnold's treasury to its present
condition, are all picked men from this body, or, at least, noto-
rious supporters of its principles. Wanton opposition to an insti-
tution from which the composer of moderate, or no talent, may at
least obtain an occasional, and very pardonable indulgence, of his
vanity, is a course from which good taste and feeling would alike
recoil ; — it is only when he asserts that a society of this kind, set
up upon a monstrous principle of exclusion, is alone necessary to
give him a successful rivalry to the great writers of Italy and
Germany, that he perforce renders himself an object of merriment.

From the facts to which I have thus briefly called your atten-
tion, it must, I think, be evident, that the present appeal of the
"native composers " to the public, is merely a demand for the very
monopoly which they affect tp condemn, and which could only be
granted them at the expense of the ultimate and true interests of
music. The present musical degeneracy of this country has now
become too generally acknowledged to need any formal demon-
stration. The speculations abroad, however, touching the causes
of this phenomenon are, some of them, not a little remarkable.
In a country which, in its works of imagination, and the gigantic
cast of its intellectual achievements, in its courage, humanity,
and spirit of enterprise, has ever been, and still remains, pre-
eminent among modem nations, a deficiency of this sort, what-
ever be the reason of it, must certainly be referred to other causes
than the climate, cold and phlegmatic temper of the people, &c.,
which may at once be dismissed among those gratuitous assertions
by which vain and superficial people pretend to set questions at
rest which they want the capacity to investigate. And again it is
asked, *' Does the country afford its most ' stimulating patronage
to the native composer?' — music will accommodate itself, like
everything else, to the laws of demand and supply." * Undoubt-
edly ; but the logician here quoted appears to forget that there is
a more stimulating thing than patronage, which is competition.
Now, it is obvious that the " stimulating patronage," here called
for, can only be obtained by prohibiting the foreign production, in
other w^ords, at the expense of the more stimulating competition ;
and hence, so far from being of any service, it must throw a direct
obstacle in the way of improvement. We are further informed
that the low ebb to which English dramatic music has at present
fallen, is to be attributed to the admixture of music and dialogue
which the English opera enjoins ; in other words, to the want of
the machinery of the legitimate Italian opera. Here the fact is
wholly overlooked, that Winter, Beethoven, Weber, and, I believe,
Mozart, all wrote under a difficulty similar to that which is thus
said to have thrown such an insurmountable obstacle in the way of
English genius ; and that Mr. Barnett produced the Mountain
Sylph at a similar disadvantage. I pass over what is intimated
touching the probable immortality of Messrs. G. Reeve, Addison,
Horn, Davy, and others, had their *' operas" but been cast in
an Italian frame-work, because my business is with the arguments
of this ingenious logician, and not with his jokes. Presently after,
we find him coupling his complaints of the prevailing Italianism
with hints at the desirableness of a return to the primitive simpli-
cities of Mr. Dibdin and the glee writers of the last age. Why, if
the country wants medicining upon the Italian tastes, which I am
far from denying, it were wiser to go back at once to Purcell, and
Croft, and Gibbons, and the other old cathedral writers, and get
better acquainted with the Gregorian hymns and chants,f and

^ New Monthly Magazine.

f Nothing can surpass many of these hymns and chanta in depth and grandeur
of conception. To whom are we indebted for their non-introduction into the esta-
blished church ? b it to the " British musicians/' or the charity boys, or the clergy,
or all of them together. Of the appropriateness of this music there eanttot be two
opinions*

THE MUSICAL LIBRARY,

there we should have simplicity enough — ^not the simplicity of
Master Feeble, but that of true greatness and power.

The want of cheap musical instruments has been . advanced as
a reason for the national degeneracy*. Here we have the oft-
repeated fallacy of putting the cart before the horse, as if the
gratuitous distribution of musical instruments throughout the com-
munity could possibly have any other effect at present than that of
filling the courts with indictments for nuisance, and the pawn-
brokers* shops with the instruments themselves, which latter was
precisely the result of a similar experiment of the Bible Society
some time since to improve the national morals by the gratuitous
distribution of Bibles. Nor is it recorded among the efifects of the
experiment that the money-lenders are themselves a bit the better
for possessing the books. In a word, cheap musical instruments
must be the effect^ not the cause, of a love of music, as the pub-
lication whence the above observation issued has repeatedly de-
clared that the enormous demand for information is the sole
reason of its bein^ enabled to supply it at the low rate it does.

I have already briefly expressed my opinion upon the steps re-
quisite for calling into action the latent national energies, and
laying the foundation, broad and deep, of our ultimate regenera-
tion upon this subject. I must repeat my surprise, however, that
Jublic attention has never yet been called to the facts to which I
ave referred in support of my opinion. This must, doubtless,
be attributed, in no small degree, to the moral cowardice of the
press, which ever instinctively avoids all subjects which are likely
to grate upon national prejudice, however foolish, or to whatever
extent the public interests may be hurt, or the national character
compromised by their existence : but if the press be delinquent,
what shall be said of the profession ? You have yourself ad-
mitted that the facts I have alluded to have long been matter of no-
toriety in professional circles, and no professional man indeed, who
is not either a bom idiot, or blinded with prejudice, could long
remain ignorant of them; wherefore is it then that the public have
been suffered to remain unacquainted with what it is of so much
importance they should know ? While the Crown is to be assailed
with addresses, and the country loudly called upon to subscribe
to " national operas *' and exclusion societies, for the benefit of
English music, whence comes it that we hear of no attempt to
amend the present revolting condition of the churches, by petitions
to Parliament for the more extensive adoption of the cathedral
service, and the establishment of schools for the early and pro-
per education of choristers, as at St. Paul's and Westminster
Abbey? Is it because this latter measure would allow of no ''per
centages " to composers, or will they deny its certain effects ? or
are they frightened at the bench of Bishops ? In a word, is it
cupidity, or ignorance, or wounded vanity, or all three that is at
the bottom of the conduct of the British musicians upon the pre-
sent occasion ? Yours, &c.

S. E.

ON THE FLUTE:

(fVofii Me German.')

This instrument, which was held in such estimation in days of
antiquity; which filled so important a part in festivities, in the
service of the temple, in triumphant strains, and in the sadness
of funeral obsequies ; which was deemed so essential to oratory,
that speakers regulated the tones of their discourse, and poets the
rhythm of their verses, by its sounds, has, though invented at so
very early a period, only in modem times obtained that degree of
perfection which we may be justified in terming its culmination
point. Not only is its treatment and mode of performance alto-
gether different in our days from what it was formerly, in respect
to its being more free and more decisive, but the taste for this
instrument has become more extended and more refined, and the
important part which has been assigned to it in the modern opera
has so far extended the circle of its utility, that the flute may be
almost said to rival the violin. In a word, such is the degree of
perfection to which it has attained, that all the acquirements of
our ancestors on this instrument would now appear mean and
contemptible.

This most delightful of wind instruments, and which, of all
others, is thought to approach the nearest to the human voice, is,
however, sometimes misemployed by players, in forcing it to pro-
duce a kind of trumpet tone, instead of its natural mellifluous

^ Ptmoy Magaxioe.

sound. This tone is quite foreign to the character of the fluto
and has, in a great measure, been the means of strengthening the
prejudice that prevails against it, and which will not allow it to
be a proper instrument for concertos. This prejudice is still more
confirm^ by the generality of compositions of this kind, as they
are, in many instances, much too uniform to keep attention aliv^
or to interest strongly the hearers during a^y long series of pas-
sages. If players were more studious to iqiitate the varied and
more delicate bowings of the violin, and particularly its effect in
legato, and above all in staccato passages, then the flute concerto^
instead of resembling the tones of a musical clock, could not iail
to touch the heart, and to produce the powerful effects of the
human voice, to which the sounds of this instrument so much assi-
milate. The virtuoso, who, to justify his very name, ought to
be one who prizes excellence only, is, according to the taste
that now prevails in the musical world, rather solicitous to excite
surprise by the powers of execution, and by artificial difficulties
than by simplicity and purity of taste : he considers that which
costs the most, the most worthy of attention. Art is now every
thing; and, as this always stands opposed to nature, the virtuoso,
who studies only to excite admiration and surprise, frequently
exercises his powers at the expense of the ear, to which he ought
always to pay the greatest deference, and without whose approval
all music is vain and ineffectual. The true master of his instru-
ment is able to show on that alone all the power which music
possesses of touching the heart, of unlocking all the sacred
sources of the feeling, and will require nothing from his instru-
ment that is contrary to its genius. Real art is only from within;
where she reigns, mechanical art must always yield due sub-
mission. She holds the command over the powers of execution,
and creates a language peculiar to herself, in order to give utter-
ance to deeply-seated feelings, and to impart them to others. De-
voutly is it to be wished that those performers who are ambitious
of drawing from the flute the tones of the bassoon or the clarionet
would well consider this, and be governed by the predominant
character of their instrument, which is confessedly the elegiac ; a
character productive of the greatest sweetness, and of that pathos
which goes at once to the heart.

A CURIOUS FACT CONCERNING THE FLUTE.

A Correspondent, who is an experienced musician, informs us,
that " he held his flute so that the lower end rested on his knee,
and placed the mouth- hole close to his ear; then running down
the notes from A to d, by striking his fingers sharply upon the
holes, notes were perfectly distinguishable, in the key of d with
two sharps, as he imagined : — but, on blowing into the instrument
and covering the same holes, he found that they were a semi-tone
lower than those he had just heard; that is, the mute notes (if
the expression may be used) were b and a flat, o, f, and b flat,
although the holes struck were a, o, f sharp, B and d.*'

He mvites the attention of our correspondents to this fact, and
asks for some explanation of what he considers a phenomenon in
acoustics.

AN IMPORTANT IMPROVEMENT IN KETTLE-
DRUMS.

A MOST important improvement in the mode of tuning kettle-
drums has been lately made by Mr. Hill of Regent-street.
Hitherto, the drum has been tuned by means of a number of
screws fixed round the edge, near the surface, and acted on one
after the other, so that each screw was either turned to the ri^ht
to tighten (to raise the pitch)> or to the left to slacken, the skm ;
and that part only was afiected, the rest, or greater portion, re*
maining unaltered. Mr. Hill has, after much trouble and many
experiments, succeeded in constructing a machine, which, when
turned by a key in one part, acts upon the whole skin at once, so
that, in a few seconds, the key or pitch of a drum may be changed
from B to E, or F to c; in short, to any key required within the
compass of an octave. And, what is of the utmost importanc^^
the performer, when he finds the instrument a shade too flat or
sharp, may, while playing, adjust it in a moment. Mr. Hill is
altering Chipp's drums, for the York Festival; and doubtless^
every orchestral drum in the kingdom will soon pass through his
hands, for he has found out the means of supplying that which
has so long been a desideratum.

THE MUSICAL LIBRARY.

THE TELEPHONE OP M. SUDRE.
To the Editor of the Supplement to the Musical Library.

Sir, — Your account of M. Sudre's new musical language,
which, it seems to me, you very correctly designate ' a system,' —
for it cannot with any sort of propriety be termed an instrumenty
— much excited my curiosity, and led me to make fiirther in-
quiries on the subject, the result of which I beg leave to commu-
nicate to your readers. For though I fully agree with you that
there is but little probability of this method ever becoming prac-
tically useful, yet it is worthy of notice, even the notice of philo-
sophers, as showing to what a degree of perfection the sense of
hearing may be carried, and proving the nicety and quickness
which, by means of cultivation, a power may be acquired to dis-
criminate, with unerring accuracy, between sounds whose dif-
ferences are small, and without any guide at once to assign to
each the precise name it takes in the diatonic or chromatic scale.

M. Sudre, in 1828, first exhibited his system to the Academie
des BeauX'Arts, in presence of some of the most distinguished
savans and musicians of Prance, who thereupon drew up the
following

Report on the Musical Language invented by M. Sudre.

' Gentlemen, — In your sitting of the 26th of January last,
you gave a hearing to M. Sudre. He had the honour to explain
to you his system of a musical language, to speak on his violin
(purler sur son violin), to write with musical signs, and to cause a
translation of the same to be made on the spot by his pupil,
Delderez, a youth of eleven years of age. Several experiments
were made in your presence, all of wliich were attended with
success. The youth always translated what was transmitted to
him by M. Sudre, through the medium of musical tones, and
this translation was always conformable to what several of you
had dictated.

' The Academy was desirous that its section of music should
make a report upon M. Sudre's work. Your section was of opi-
nion, that, in this case, it would be useful to solicit the attendance
of several members of the different academies of which the
institute is composed, in order to avail themselves of their infor-
mation in the examination in question. Our wishes were acceded
to, and we met on Monday, the 1 8th ultimo, in one of the halls
of the institute. This commission,— which was composed of the
following members. Messieurs de Prony, Arago, the Baron
Fourier, Kaoul, Rochette, Cherubini, Leseur, Berton, Catel, and
Boieldieu, — ^after having taken cognizance of all the particulars
relative to the plan pursued by M. Sudre, for the formation of his
musical language; and after several experiments, made and
repeated in their presence, unanimously agreed that this gentleman
had perfectly attained the object in view, viz., that of creating a
true musical language. The commission were of opinion, that to
supply men with a new means of communicating their ideas, and
of transmitting them to considerable distances, and amidst the
obscurity of the darkest night, was a real service rendered to
society; and, above all, that in the art of war, the employment of
this language might, in certain cases, prove of great utility, and
serve as a nocturnal telegraph under circumstances in which
military bodies are frequently unable to hear the orders necessary
for the execution of certain movements. Almost all wind-instm-
ments might serve for the employment of these means, especially
the small clarionet, an instrument to be found in every banci.
There is scarcely any military station, particularly in Prance, in
trhich some officer does not understand music; and, as it has
been satisfactorily proved to us that, in eight or ten lessons, a
person tolerably versed in music can speak and write M. Sudre's
musical language, as well as translate it, in the same manner as
Ae youth Delderez had done, we are justified in the belief that
this method might be easily and usefully employed in our amiies,
as a musical telegraph for the transmission of communication.
An officer on receiving the order of his general through this
medium, would translate it into sounds, and transmit it from one
bank of a river to another, or from one camp to another, by one of
the band of his regiment. The experiment was tried one night
from the Pont des Arts to the Pont Royal, and perfectly suc-
ceeded. We think it but right also to observe to the Academy,
that we feel assured it will be very easy, by means of musical
transposition, to obtain the necessary varieties for the transmis-
sion of this language, similar to those employed in diplomatic

correspondence, by means of ciphers and other signs, and in such
a manner also as to prevent an important inconvenience arising
from the transmission in signs, viz., the facility of being in a short
time deciphered and known.

' The commission is also of opinion that this new medium for
the communication of thought may, under other circumstances of
life, present important advantages ; in a word, that the system
of M. Sudre comprises all the germs of an ingenious and useful
discovery.

* We have the honour to propose, gentlemen, that your appro^
bation should be granted to our report.

' {Signed) De Prony, Arago, Members of the Acadimie
des Sciences.
•The Baron Fourier, of the Academie Fran^aise.

* Raoul Rochette, of the Academie des Inscriptions

et Belles 'Lettres,

* Cherubini, Leseur, Berton, Catel, Boieldieit,

Members of the Academie des Beaux-Arts,

* H. Berton, Reporter.

* The academy adopts the conclusions of this report.
' Certified accordingly : —

' Quatremere de Quincy, Perpetual Secretary.'

Hence it appears that the system of M. Sudre obtained, between
seven and eight years ago, the full approbation of some of the
most eminent men of the age : whether it has remained dormant
since that time, or why it had not sooner been exhibited to this
country, I am unable to explain.

Subsequently to the publication of your last Number, I have
had an opportunity of meeting M. Sudre, of witnessing his opera-
tions, and of convincing myself not only that there is no confede-
racy in the process, but that the system is remarkably simple,
though only to be acted on by two persons of some musical know-
ledge, and endowed with a fineness and quickness of ear rarely
possessed even by professors of the most acknowledged ability.

At the beginning of last month a small party met at the
house of a distinguished member of the Royal Society, M. Sudre
and his assistant, a French youth of about eighteen years of age,
among the number. The latter having been placed in an ad-
joining rooin, in which he could hear the tones of a violin, though
the door was close shut, a gentleman wrote a short sentence in
French, which M. Sudre read, then taking up his violin sounded
as many intervals (or apparently as many) as there were letters
in the sentence. The cessation of sound was the signal for the
assistant to enter the room, who immediately, without the slightest
hesitation, delivered the sentence exactly as set down. A line in
English was then written, which was transferred to the violin,
from that to the youth, and by him back again to the company,
with the same accuracy as before : but pronounced in a manner
to have been expected from one wholly ignorant of the language.

After this, sentences in Italian, in German, and in Greek, were
given to the ingenious artist, and all with the same result, the
assistant showing by his pronunciation, that, though he knew
every letter communicated to him by the vioUn, and now to com-
pound the letters into words, he was totally unacquainted with
the meaning of what was conveyed to him in any language but
his own.

It is worthy of observation, that M. Sudre himself has no
knowledge of three out of five of the languages in which he com-
municated words to his coadjutor. Upon being asked if he could
convey the sentence written in Greek, he replied, that he just
knew the Greek characters. Thus it is evident that by this
method the two agents may remain quite ignorant of any order or
information transmitted through them. And even were they
masters of every living and dead language known, words only
intelligible to the principals might be contrived, as in the case of
cipher, which would render every communication perfectly secret.

M. Sudre, who does not affect to make any mystery of his art,
— on which he is preparing to publish — now rendered its principle
clear to those who had not already entered into it. He com-
municated to his assistant, who then was present, a sentence,
not by means of his violin, but orally, in the syllables used in
France to represent the sounds of the scale. For example, — the
woixl age, as part of a sentence, was indicated by the syllables
lUf sol^ mL It appears to me that fourteen other letters are
represented by means of the seven sharps and seven flats ; thus
twenty-one letters are obtained. I also conjecture that each of
the few remaining letters is expressed by an interval sounded

THE MUSICAL LIBRARY.

twice quickly; and that a slight pause after a certain number of
sounds shows that a word is completed.

But, as you have suggested, many letters may be represented
by octaves ; ia, the second added line below the treble staff, may
Signify a; its octave above, R ; its double octave, o; &c. I ob-
served, however, that sharps and flats are also used, and thus an
alphabet of much more than the necessary length is obtained.

The operation will, to many of your readers, appear easy of
performance, but on trial they will at once discover its difficulty ;
or, rather, as I have above remarked, the very rare fineness of ear
and quickness of perception required in him who is to convert
the sounds into letters and combine the letters into words.

The time taken by M. Sudre in expressing, or communicating,
each letter, may be represented by a quaver followed by a quaver
rest, the movement being laryhetto ; or, the metronomic number
84 is about the measure of each quaver, and each rest. But, to
make the matter more clear, the word age may stand thus in
musical notation, both as regards pitch and time.

Lar ghetto, 84 = J*

All this is on the presumption that the experiments are made
in a room^ or where the sounds of a violin can be distinctly heard.
To communicate at a distance, a much more powerful medium
must be employed, a trumpet, for instance, the comparatively
imperfect and ungovernable nature of which instrument will, I
fear, prove an obstacle altogether insurmountable, should there
be no other difficulty to contend against. As to the small cla-
rionet, mentioned in the French report, it would be wholly ineffi-
cient at any distance, more especially in the case of an unfavour-
able wind.

I am, Sir, &c.

AMERICAN MUSICAL SOCIETIES.

* No public institution has yet been established in our country on
the plan of the schools of Italy and Germany, the conservatoire of
France, and the academies of other of the European kingdoms, for
the purpose of instructing pupils in every branch of the musical
art by competent teachers; and the course of events in otlier
countries, as well as a careful view of the whole subject, leads us
irresistibly to the conclusion that until we have institutions similar
to those of Europe, for the thorough education of native professional
musicians, we cannot expect to make such advances in the art as
to acquire any distinctive or national rank^ or have any music that
cau with propriety be called our own.

' Our musical bodies have, almost exclusively, been instituted for
the acquirement of practical skill on the part of the Qiembers, and
for the public performance of musical compositions ; and in the
fulfilment of these objects they undoubtedly have a very important
and beneficial influence on the progress of music in their imme-
diate vicinity.

'These institutions are important in several points of view, but
the mode in which they operate most influentially is by their con-
certs rendering a large number of persons familiar with good
compositions performed in a superior manner; the pleasure
afforded by these performances, and the exhibition of skill there
witnessed, excites admiration for the art and causes increased
attention to its cultivation. They also serve to elicit the abilities
of our own people, by the estimation in which individual talent is
held, enkindling a spirit of emulation, and an endeavour to arrive
at similar excellence. The frequent intercourse between the
members promotes feelings of friendship and a laudable pride,
the foundation of that esprit du corps, the tendency of which,
in a cause like this, is in the highest degree salutary and com-
mendable.

'It is to them also we must look for whatever indications our
people, in a collective point of view, yet exhibit of aptitude for
music and of skill in its performance. If we go to the theatre or to
the opera we find nearly all the performers foreigners; if to an
oratorio or sacred concert, there at least we find one department,
the chorus, to consist almost entirely of our own people ; and the
good voices, and practical skill which they exhibit, are in the
higiiest degree flattering to our national feelings, and afford an

indication of the success that may reasonably be expected to
attend our pursuit of this art, when we possess the advantages for
improvement enjoyed by other nations.

' These institutions (the principal ones) may also be regarded
as indexes of the existing state of music in the country. The pro-
gramme, and the list of the performers at the performances that
took place thirty years ago, enable us to form a pretty correct
estimate of the state of the musical art at the time ; and in the
same manner the history of our present musical transactions will
enable those who come after us to form a comparative estimate of*
the acquirements of themselves and ancestors.

'Believing that these institutions, when under good management,
exert in various ways an important and beneficial influence on the
progress of the musical art, we are desirous of seeing them esta-
bUshed in all parts of our country ; and we intend in a future
article to offer some hints on the formation and manner of con-
ducting them, derived from actual experience.

' For the production of grand musical effects the union of num-
bers is indispensable, and this is the intention of musical
associations. A number of persons may associate for private
amusement, and their proceedings ought no more to be inquired
into than any other private matter ; but when a number of indivi--
duals associate and found an institution avowedly for the attainment
of a public object like that of the cultivation of music, there is a
moral obligation assumed by its officers to carry these objects into
effect, and the manner in which it is done becomes a fair subject
of inquiry, and is indeed, in some degree, a matter of public import-
ance, from the fact of these institutions being regarded as a sort of
test of the musical character of the place.

' It is obvious that the degree in which a society is useful
depends on its energy and judicious management. It gives a
society no claim to consideration that its objects are good, if these
objects are not carried into efiect ; and the elements of considera-
tion and respect are compounded of these two things, viz. laudable
objects pursued with zeal and judgment. If then, instead of
energy and judicious measures marking the c(Hiduct of a society,
we see bad measures, supineness, or those advantages that are in
its possession not made use of, such bodies deserve censure instead
of praise, and that in proportion as these last traits predominate.

' We have in this city [New York] three prominent societies,—
the " New York Sacred Music Society," the " Euterpean," and
the " Musical Fund ;" and we intend in this article to inquire inta
the manner in which each fiilfils the objects for which it wa&
respectively instituted.

' In regard to amateur associations, the positive musical excel-
lence they display is not so much an object of fair criticism as the
zeal they show in its pursuit ; and it is in reference to that point
that our inquiry shall be conducted.

' The Euterpean being the oldest will, from that circumstance^
receive our first notice. This society was instituted about forty
years ago, and from its long standing, the respectability of its
officers, and the individual talent of its members, might possess
the most extensive influence in the musical community ; it has ia
its possession funds and the largest library of instrumental musia
in the country ; and yet, with all these advantages on its side«
what has the Euterpean Society done, or what does it do 7 It
can be summed up in a few words: — A few of its members meet
every Friday evening, and play overtures and symphonies, and
every year they give an indifferent concert and a ball, the last o£
which is the chief attraction. Now we ask the Euterpean if^
like a horse in a mill, they are for ever to pursue this eternal
round ?

* Do the officers of this institution believe that by this course
the Euterpean is fulfilling those objects which the means withia
its power fully justify the public in expecting from it? or that
this course gives it a claim to a distin^ished rank as one of the
musical institutions of the country ? We must take the liberty
of saying what will be, perhaps, to some an unpalatable truth,—
that there is a great degree of supineness and want of ener^ ixk
the management ; and tn^t the course of the Euterpean is viewed
by many, whose opinions are entitled to respect, with quite a de*
gree of indifference ; we will not use a harsher term.

' Is there in the institution no public spirit, no city pride, that
will arouse them from their lethargy, and stimulate them to exer*
tion 7 Will they permit societies to spring up around them that
do not possess a tithe of their advantages, and outstrip them in
the race of fame ? We are the more surprised at this state of
things, as we know some distinguished amateurs who belong to

THE MUSICAL LIBRARY.

it; and who, we are convinced, would put a reforming hand in
operation, was there not some secret cause, some unknown ob*
stacles existing, of which we are not apprised^ What is the in*
cubus that weighs down their energies ?

' We again assure the members of this society that these re-
marks are not made with any other feeling than that of a desire
on our part to see the Euterpean make use of the means in its
possession for the advancement of its own fame and that of the
city. We want to see it do for instrumental music what the New
York Sacred Music Society is doing for choral. We wish to see
it become the Philharmonic of this London of America, and to
point it out to the stranger and the foreigner as an institution of
which we have reason to be proud — as the energetic cultivators of
instrumental music in New York.

' The " Musical Fund Society ** next claims our notice. This
society was established some seven or eight years since, for the
purpose of creating a fund for the support of sick and decayed
musicians and their families. This fund was to be raised by the
annual contributions of the professional members, and by sub-
scriptions from amateurs, who were to receive, as an equivalent^ a
certain number of tickets to two concerts a year.

' This society came into being under very flattering auspices ;
several of the most eminent professional men were instrumental
in forming, and for some time were active in supporting it ; ex-
pectation was raised high as to the musical treats with which the
public were to be favoured at its concerts, from the combination of
the professional talent in the city. The public felt friendly to a
society having such praiseworthy objects in view, and for a while
it went on prosperously, and bid fair to realize the purposes for
which it was founded. But, alasl after a short year or two, it
was found that, like a great many other New York projects (the
Athaeneum for instance), there was in this great promise, but
little fulfilment ; that its concerts were got up without due atten-
tion, and were no better than those given by Mr. This or Signor
That ; that the principal part of its members, instead of perform-
ing gratis and adding to the fund, had to be paid the same as
any body else ; that its most active members became disgusted
and fell off; and at this time there is probably not twenty pro-
fessional members in good standing belonging to it.

' In fact, professional men have almost ceased to take an in*
terest in its affairs, and we could name three or four amateurs
(who, to be sure, have been dubbed professors, to meet a requi-
sition of the by-laws), that if they were to cease their exertions in
its behalf, it is altogether probable the Musical Fund would be
heard of no more.

' In fine, the Musical Fund is not effecting any one object for
which it was established; as a musical body it does nothing for
the advancement of music, — for any one that has money enough
in his pocket to pay the difference between the receipts and ex-
penses of a concert can do as much ; and as a charitable body,
we believe that nobody ever heard of any act of it in that capacity.
How can it be possible that any fund can be created for this pur-
pose, when such an extraordinary circumstance is exhibited as a
society, instituted for the objects of this, paying five or six hun-
dred dollars to the operatic company for performing at one of its
concerts, at which not one of the members of the society assisted
but those who happened to form a part of the band of this com-
pany. We do not blame the directors for engaging this company
in this instance ; they were right in fulfilling the engagements of
the society with the public : we only mention the circumstance to
show the folly of attempting to accomplish the objects of the so-
ciety, when the men for whose benefit it was intended show such
an utter indifference respecting it'

TOAST OF THE ZERBST VOCAL UNION.

Sung at the Eighth Elbe Musical Festival^ at Dessau, 183&.

(The following is an English version, by a correspondent, of the
verses referred to in our musical report. See Dessau.)

In Music's regions, delighted.

The heart finds a native land;
The soft, the sublime united

There wander, hand in hand.
Desire within us is swelling,

We long in that land to rest ;
There, then might we aye be dwelling.

In Heav'n's benignant breast !

A magic spell is emvreathing

With pleasure each joyous heart;
Within is a gentle breathing.

Which bids all care depart.
Tis Music's magic, descending ;

Heav'n's gates with that spell have rung
That breath, with our spirit blending,

Was heard when angels sung.

The strings of the harp are trembling,

They're touched by the master's hand.
And angel-forms are assembling —

They smile, the Ueav'nly band.
They tell him what noble pleasures

Round Heav'n*8 bright throne have their birth ;
He 8ing9, and in tuneful measures

Reveals them to the earth.

And o'er his head there is burning

A star with its golden rays ;
Each eye to the sky is turning,

Tho' distant, still they gaze.
For him, the artbt, 'tis beaming.

For him does it shine afar,
Then drain each goblet, though brimming ; —

« The Master and his Star."

REVIEW.

OvBRTURB to Sckiller^s Tragedy, Joan op Arc, composed and ar-
ranged for Two Performers on the Piano Forte, by J, Moscheles.
Op. 91. (Cramer and Co.)
If all musical pieces called overtures deserved the title, it would unde-
niably be a pleonasm to talk of a dramatic overture ; for when the conn-
position written to precede an opera, a play with music, or an oratorio, is
not dramatic — that is, when it does not stand in some relation to what
follows, it is an instrumental piece, a symphony in one or two move-
ments, but not an overture.

The overtures to Don Giova^m^ to TitOt and to Cost fan tutte; to
Egmont; to the Freischviz; Mendelssohn's to a Midsummer^Night*
Dream, and to the Caves of Fingal, are strictly dramatic, for each may
be said to imitate the principal feature of the drama which it precedes,
— ^to prepare the minds of the auditors for what is to follow ; in a word,
to do the duty of a prologue. But^ in general, overtures are merely
instrumental preludes, bearing no analogy to that which they introduce,
and of soiconvertible a nature, that they are changed about, one is sub-
stituted for another, according to the whim of the leader, or even as it
may happen to suit the convenience of the librarian, whose duty it is to
distribute the parts.

We therefore distinguish the present overture of Mr. Moscheles by
the term dramatic^ for it may be considered as a musical summary of
the tragedy of which it is the real or supposed precursor, and a most
imaginative, effective, masterly composition it is, one that will float on
the stream of time, and bear its author's name to distant ages. It was
performed during the late season at the Philharmonic Concerts, when
the merit of the design, the beauty of its melodies, the richness of its
harmonies, and the ingenuity of its* instrumentation, were confessed by the
most critical audience that this country, or perhaps any other, can produce.
The opening of the overture may be conceived to represent the • Maid
of Orleans,' in the sacred fane, imploring a blessing on her enterprise.
The subjoined are the first eight bars, which we mve, for the conve-
nience of our readers, reduced within the compass of two hands;
though, it is hardly necessary to add, some of the efifect is thus necessa-
rily diminished.

Andante Reltgioso^ ' ^ "I ^^^^

THE MUSICAL LIBRARY.

The time now changes to twelvc-eight, but the movement continues
unaltered. We have here something like an imitation of the bugle, and
the assembling of troops may be supposed. Then comes the march,
bold and resolute, while the prevalence of the minor key, and the chro-
matic modulations, seem prophetic of the fate of the heroine. The fol-
lowing is the subject : —

Tempo di Marcia.
186 = J

rm^

^j JlbJTD^ fc^ ••

T TTJ bJ-l'i \ M

*l^a?3p;

rrmi

T7~r^

F=lt

V r

rT"^=^

i g^^ J J JSi P

35:

2CS:

°\ ^r*-

ijH;

r ^p^ ^ ;y 4J t

'm 'a 'a 'a . *a

The movement is then much accelerated, an onset may be imagined,
and the subject, which we here give, is carried out to a considerable
length, and worked with infinite ability.

JUegretio Spiriiogo. 112 - I J*

8 va alta 1

" »f

*=?

The second, or subordinate rootivo of this movement, — a ^sweet
melody sweetly harmonizedy-^—consists of the annexed eight bars.

r\ r

!^^

^^^^

Both subjects are treated in not only a skilful but a pleasing manner.
The composer is not one of those who are content to show mere technical
knowledge — he is not to be reckoned among the twaddlers who prose
about a score being * well written,' — he knows that a composition is to
be heard, not seen; he writes to the ear, to the cultivated ear, and
appeals through that organ to the judgment of those who are capable
of taking an enlarged view of the art, who value it as it excites emo-
tion, as it rouses and animates the sluggish passions, or calms and
softens those that are turbulent

The conclusion of this work is not the least striking and remarkable
part of it : we will not say that it is perfectly new, because M. Men-
delssohn, in his first overture, led the way. The allegro gradually
slackens to a moderato, the key changes to p minor, and sixteen bai^,
* andante religioso, e funebre,' forming a dirge, shadow the concluding
and cruel scene that terminated the life of the Pucelle d^OrlSans*-^
Jeanne d'Arc. The effect of this is most powerful.

Six Sonos, the Pioetry by the Honourable Mrs, Norton, Mrs. Hemans^
Miss A, M, Benettf the Rev, Townsend Selwyny and Thos. Moore^
Esq, : the miLsic composed by Loau Charles Thynne. (Cramer,
Addison, and Beale.)

The increased and increasing number of dilettanti composers is fright*
ening many professed musicians out of their wits, and making them,
splenetic. They cannot find a civil word to bestow on noble and
honourable producers of madrigals, songs^ &c., all of whom they view as
intruders, lowering the value, by increasing the quantity, of musical
talent, and making the commodity of the artiste par metier a mere
drug in the market. Few of the fraternity see — ^for most of them are
very short-sighted— that the more music is cultivated by persons of rank
and fortune, the belter must ultimately be the condition of those who
live by it, the greater will be the demand for their services, and their,
class must necessarily rise in general estimation by being engaged in a
common pursuit with people of station, or of wealth, which latter is, in
this country of Mammon, always regarded with a respect nearly
amounting to awe.

Lord Chesterfield unintentionally scared persons of his own caste out
of their musical pursuits, by a letter never meant for publication ; but a
re-action (to use a favourite word) has since taken place, and people of
rank, and of that leisure which attends the possession of wealth, have,
found out that it is in every way more reputable, more desirable, to
fill up their vacant hours with an elegant and innocent art, than to
pass them with jockeys in a stable, with blacklegs on the race-course,
or among reckless })rofligates at the gaming table.

For the publication of the present songs, we feel indebted to the
noble composer. If they do not display any very active search in quest
of novelty, they at least exhibit great judgment, united to a pure and
elegant taste. Lord Charles Thynne evidently has read the poetry with
attention, for his music well expresses the sentiments of the writers ;

THE MUSICAL LIBRARY.

^d we find no instance of that false accentuation unfortunately still so
common, though on the decline, with professional composers. The
airs are natural and pleasing, the accompaniments unambitious but
appropriate, and all are devoid of any kind of difficulty.

The first, ' It was a calm and sunny day,' is a sweet melody, set to
8ome charming words, full of feeling, by Miss A. M. Benett.

The second, ^ Where shall I find on all the fleeting earth ? ' in a graver
style, — ^for the words, by Mrs. Hemans, are religious, — is rich and ex-
pressive. The slight changes in movement are very judicious, and give
an artist-like colouring to tne sentiment of the poet

The third, * Peace and Glory,' is a good air, well accompanied. The
composer has had some difficulty to contend with in setting lines that
run so much one into the other, the sense of which is somewhat obscured
by the long note on * lightened,' * brighten'd,' &c., and, more particu-
larly, by the rest at the end of the second line of the third verse, the
darkening effect of which the engraver has rendered more palpable, by
inserting a semicolon where there should have been no pause of any kino.
These difficulties were not invincible, though the composer has left them
unvanquished.

The fourth, ' Friends we loved,' is in a pleasingly-solemn strain, exactly
suited to the moral character of the poetry, written by a clergyman.
The G flat at the word * complaining ' is unexpected, but easy to the
singer, and a very happy thought.

The fifth, a * Song of the evil spirit of the woods,' is set in a bold,
characteristic manner, while there is no deficiency in it of very agree-
able melody. The retardation at the words * Oh ! 'twas once the In-
dian's home I ' is admirable, and sings as well as speaks volumes ; —
* crimes not unwhipt of justice ' are here adumbrated, and brought to
the recollection of all who are acquainted — and who is not? — with the
atrocities perpetrated during the continuance of the slave trade.

The sixth, and last, ' The green turf grows above thy gentle head,' is
a delicious air, in true keeping with the delicate, pathetic verses, by the
Hon, Mrs. Norton ; and the tranquil, modest accompaniment shews the
judgment of the composer, as much as the last three bars of sincopated
notes prove his skill as a musician.

The present work induces us to hope that Lord Charles Thynne will
often be in a composing mood. But before taking leave of his lordship,
we earnestly recommend him in future to mark the movements of all his
compositions by Maelzel's metronome. Without the guide of some sort
of pendulum, the Italian words in use are insufficient ; and English ones
are still less explanatory, as relating to musical meaning.

1. FuouE for the Organ or Piano^forUy composed by Wm. Crotch,
Mus. Doc. The iubjectfrom a double chant by the Rev. P. Henley
(Mills, New Bond-street.)

2. Do. do. do. The subject from a chant by Battishill.

These may be considered as clever musical studies, by the able pro-
fessor of music to the University of Oxford, and as such will excite an
interest in all admirers of genius and worth. The subjects are popular
chants, which are taken as points, and worked up with great ingenuity
Into free fugues. Each is preceded by an imitation of the chant, in the
form of a canon two-in-one, with a free base, and answers the purpose
of an Introduction to the Fugue. These, which are very short, will
amuse piano-forte players of the studious kind ; but their chief use will
be as voluntaries, and as such we recommend them to the notice of or-
ganists of every description.

A Selection .^tMn the works o/ Beethoven, arranged as Piano-frfrte
Duets, by Charles Czerny. No. 1. (Blackman.)

We are rejoiced to find M. Czerny engaged in what is pleasant and
useful. The present number contains the exquisite Larghetio from Beet-
hoven's Symphony in n. No. 2, exceedingly well arranged, and forming
a very delightful duet,— easy as relates to execution, because slow, but
requiring great taste and feeling in both performers.

The Ash Grove, a Welsh melody ^ toith variations for the Piann-fortey
composed by H. B. Richards, pupil of the Royal Academy of Music.
(Lonsdale, Old Bond-street)

This, we are told, * gained the prize at the Cardiff Festival, 1834.'
Perhaps * a prize ' would have been a more correct statement, for the
definite article implies what is not meant. The variations are five in
number, and to these is added a finale. They do not exhibit much enter-
prise, and a want of some change of key is sensibly felt ; but there is a
certain degree of prettiness in most of them, and by a judicious use of
the pedals, a musical-box kind of effect may be produced. As tlie pro-
duction of * a pupil,' this is entitled to commendation.

1. ' The Stranger Knight j'

2. * I*m saddest when you sing ;'

8, NoTTUiiNO, for two voices, * Tho* on earth we are parted for ever;*
written, composed, and arranged^ by an Amateur. (Cocks and Co.)
4. * Mi giuri che m'ami i'

5. * I never cast a flower away ;* composed and arranged by an Ama-
teur. (Cocks and Co.)

6. 'Friend after friend departs;^ written by J. Montgomery, com*
posed and arranged by an Amateur. (Cocks and Co.)

The music of all the above, as well as the poetry of the three first, are,
we presume, from the same pen : and the superscription, in a female
hand, leads us to conclude that the author is of that sex which is pecu«
liarly entitled to our respect, even in our critical capacity.

Without noticing these in detail, we shall state, ffenerally, that they
evince much taste, and some talent, — talent worth culture; but we
should be uncandid and misleading did we not confess that they betray
a want of experience in the art of composition, — that a few errors have
crept in, and some good effects have been missed, from a want of that
knowledge which instruction alone will not impart, and is only attainable
by practice,

1. Air, * But he shall feed on Carmel,' from, the oratorio of The Cap-
tivity of Judah, composed by Wm. Crotch, Mus. Doc, &c. (Mills.)

2. The Crucifixion, composed by Edwin Merriott. (Falkner.)

The first of these is from a work which has been once, and, we regret
to say, once only, performed, for it deserves to be generally known. The
air is melodious, in the oratorio style, and more likely to please upon
acquaintance than after a single hearing. The accompaniment is ac-
tive, rather of the florid kind, pleasing, and quite in character with the
vocal part The Handel school, with a slight admixture of the more
modern German, prevails throughout the whole composition, which will
be an acquisition to the admirers of classical music.

The composer of No. 2 has not proved quite equal to his subject
The words required either the utmost simplicity in the music, or the
most abstruse modulation, the most thrilling harmony. We meet here
with neither, but something like an attempt at both. The composition
is not without merit, though the author has failed to achieve as much as
he intended.

1. Ballad, ^ The Parting of Summer,' the words by Mrs. Hemans,
the music by the Hon. Mrs. Bertie Percy. (Willis.)

2. Duet, * Music from shore,' the words by Mrs. Hemans, the musie
by John Lodge, Esq. (Mills.)

The ease and simplicity of Mrs. Bertie Percy's ballad will tempt many
to think that they shall be able to produce something as vocal, gracefiil^
and pleasing, with little genius and less trouble ; but experience will
soon whisper them, in the words of the famous Carissimi, Ah I Questa
facile^ quanto e difficile I

Mr. Lodge has composed the present duet in what may be called a
mixed style ; partly in easy, flowing thirds and sixths, and partly in
something like subject and answer. The effect produced is such as will
secure the favourable opinion of most hearers.

FOREIGN MUSICAL REPORT.

BERLIN.

Towards the end of May we had an opera in one act called Trilby,
the music by Fruhn, the words by Both. We think the author and
composer need not quarrel about the glory to be acquired from their
joint production. The plot is good, but grievously stretched out ; the
music is not without merit, but that merit lies solely in detached pieces.
The chorusses and comic pieces went off with most success; while the
chief parts told but indifferently. About the same time Boieldieu^s
Dame Blanche was revived at the Kunigstadt. Madlle. Vial appeared
in an opera of this species, and met with very animated applause.

Our Whitsuntide was marked by the revival of Cosi fan ttUtCt which
had not been acted since the retirement of Madlle. Sch&tzel from the
stage. Of the performers we cannot speak otherwise than favourably ; of
the manager the less we say the better.

Two novelties distinguished the middle of June : the first, a new
singer, Madlle. Maschinka Schneider, who met with great applause,
principally on account of her vocal talents, as Desdemona in Oielh;
the second, an opera by Mercadante, The Normans before Paris. Mer-
cadante has, they say, grown too learned for the Italians, who have cast
him off. Perchance he may be so, compared with Donizetti and Bellini,
which latter gentlemen have brought music to such a pass, that we really
took the music of this opera for something fine. It is decidedly the best
opera we have had for some time on the KOnigstadt stage ; it was well
sung, except the tenor part, which was heard to disadvantage.

Towards the end of June, M. Bayer, from Munich, sang atthe Kunig-
stadt Theatjre with applause, and Madlle. Maschinka Schneider took her
leave. On the 27th, M. Wieprecht made trial in the Marten Kirche
(St. Mary's Church), of a newly discovered wind-instrument called the
Chromatic Bass Tuba* It certainly has a wonderful fulness of tone, and
will most likely cause the Ophicleide to vanish for ever. The compasa
of the instrument is between the horn and the trumpet.

THE MUSICAL LIBRARY.

Singers began to grow plentiful in July. On ihe 4tli, M. Bielingr, an
excellent barytone- singer, made his appearance at the Theatre Royal as
Pietro in La Muette de ParUcu On the Bth, Don Juan was acted,
when Mad. Fischer, from Carlsrue, and M. £ick, from Breslau, ap-
peared as Donna Anna and Don Juan, Madile. Li via Gerhard t, from
lieipzigy made her deh(it at the Konigstadt Theatre on the 5th, as Juliet
in Romeo and Juliet Her voice is melodious, especially in the higher
passages, and her general style so pleasing, that it would be well if many
. abgera on this stage took her for a pattern.

VIENNA.

Belliurs Straniera has been acted at the Hofopfern Theater^ under
rather whimsical circumstances. The principal parts were performed by
Italians, who sung in their own language, while the chorus sung in
German. The public were indignant enough, — why we cannot well see.
In the first place, who cares for the words of a modern Italian opera?
and in the next, the chorus sung such very unintelligible German, that
with a small stretch of imagination, it might have passed for any lan-
guage whatever.

The brothers Moriz and Leopold Ganz, on the 3rd of June, played at
an Academa held in the Hofopfern Theater. Tlie fame which preceded
tihem waa great, but they satisfactorily proved that it was not too great.
The violoncellist Moriz, unites in the happiest manner tenderness and
execution, while Leopold seems to have made tenderness his principal
study. In a Concertante Militaire the brothers played together, and
elicited general applause. We regret to say that the house was but thinly
attended.

DESSAU.

Eighth grand Musical Festival on the llth, 12/A, and l^th of June. -^
At four o'clock on the first day, at the Johannis Kirche, began the
oratorio of Absalom^ the text by Bruggemann, the music by Fr. Schnei-
der. The solo singers were as follow: — ^Thamar (soprano). Mad.
Johanna Schmidt (from Halle) ; Absalom (alto), Mad. MQller (from
Brunswick) ; David (tenor), M. Diedicke (of Dessau) ; Joab (base),
M. Kriiger (of Dessau).

The poet has shown great power in his choruses of angels, demons,
and people, which present a powerful contrast^ and afforded a scope to
the composer of which he has known how to avail himself. The oratorio
was splendidly played, and in the evening Dr. Schneider, as the com-
poser, was crowned in the Georgen-garten. These gardens were illumi-
nated by the order of the Duke, and the day terminated with a display of
fire -works.

On the second day at 11 o'clock, in the Concert Hall of the Ducal Uof-
Theater began a series of quartets played by the brothers Muller, from
Brunswick. We had a quartet by Haydn in n major, one by Onslow
in B major, and a minuet and fugu^ by Beethoven in o major, the first
and last of which were heard with the greatest delight. It is needless
to criticise the brothers Mdller ; it is enough to say the public were trans*
ported. At seven o'clock a concert was held in the Hof-Theaier^ under
the direction of the Kapellmeister Schneider. The following pieces were
played : 1. A Jubillee overture by Weber. 2. A divertissement for the
violoncello by Dotzauer, played by M. Drechsler. This artiste in his
adagio and smooth passages displays great beauty of tone ; he also
shows great skill in his execution of bravura passages, though here his
excellence of tone seems to fail him. 3. An aria from Rossini's
Eduardo e Cristina^ and 4. Goethe's JUgerslied (hunter's song), for a
base voice, piano accompaniment and violoncello obligato (played by
M. Tl). Mulier from Brunswick), both sung by M. Zschiesche. These
pieces were not well selected for a musical festival. The first aria is a
mere nothing in a musical point of view. The song, which was com-
posed by M. Grill of Pest, gave less satisfaction than any of the even-
ings' performances. We pass no judgment on the singer, except in
saying that he injured himself by the selection he had made. 5. A con-
certino for the flute, composed and played by M. Heinemeyer, from
Hanover. This masterly performance was received with the most
tumultuous applause. We may safely say, what is saying a great deal,
that M. Heinemeyer is one of the first flutists of the day. 6. Concertino
for the clarionet by Lindpainter, played by M. Trelbar, from Brunswick,
who well deserved the acknowledgments paid him by the public. His
tone is fine, his execution wonderfully skilful. 7. Variations for two
violins by Wassermann, played by M. Mulier, from Brunswick, and M.
Zimmermann, from Berlin, who met with deserved approbation. Beet-
hoven's symphony in a major occupied the second part, and gave the
whole assembly a good appetite for the splendid supper prepared in the
Ducal Orangery House, and which our illustrious host honoured with his
presence. Two songs written for the occasion were sung at table ; the
first, The Toast of the Gerhst Vocal Union* ^ — the second, in honour of
Art, the Union, and M. F. Schneider. On the third day we had the
following pieces, played at the Johannis Kirche^ and commencing at nine
o'clock A.H. Haydn's symphony- sentence in c minor, the Kyrie and
Gloria from Haydn's fifth mass ; the solos by Mad. MUller, M. Diedicke,
and Madile. Von Basedon. Second part. — Mozart's symphony in d
major, Moaart's hymn, Gottheit! dir sei Preis und Ehre (God, to thee

* Vide page 91, for aa Eaglish version of this loaf/. ,

be praise and honour). A ftntaaia for the bassoon, with the chond,
Wachet auf raft uns die Stimme (Awake ! the voice calls us !) com-
posed by MuUer, played by M. Queisser, firom Leipzig. Third part— -
Beethoven's symphony in o minor.

We cannot conclude this account without remarking how much the
inhabitants and visitors of Dessau are indebted to the Ducal house in die
first place, for its very liberal and even reverential support of music — ^and
in the next, fi^r the very splendid repasts which were given to the lovers
of music, after they had been regaled by the more refined, though less
substantial feast of jsound, as well as for the good feeling which was
shown by the august hmWy honouring such repasts by their own presence.

LEIPZIG.

On Good Friday we had an oratorio, called Das Ende des Gerechten
(The end of the Righteous Man), the words by T. Rochlitz, the music
by Schicht. The greatest praise is due to M. Aug. Pohlenz for his con-
ducting and getting up of the whole. The chorusses^ part of whom were
the Vocal Academy under his own direction, sang with a correctness
and vigour seldom heard. The academy also gained honour by Zu*
lenka's noble piece, Tenebrce facia sunt^ the selection and execution
of which must have pleased even a malcontent. The orchestra and solo*
singers also distinguished themselves. We especially notice M. Hering,
a divine, who sang John's recitative with an expression which touched
all present to the heart.

On the 17th of May, M. Pohlenz again displayed to advantage his
Vocal Academy. His students, together with the Thomanerchor, sang
in Haydn's Creation in a very excellent manner.

POTSDAM.
The third Grand Vocal Festival of the Markisch Union took place oa
the nth and 12th of June.

The proceedings of the first day began at 11 o'clock a.m. at the
Royal Hofund Gamison Kirclie^ with a sentence from the Liturgy, com-
posed by M. Sch&rtlich, director of the Union. This was followed by a
well-executed fugue on the organ, played by M. Bottcher, organist to
the church ; after which the choral, Einefeste Burg ist unser Gat/ (oar
God is a strong fortress), the first strophe sung by the chorus unaccom-
panied, the second accompanied by the wind instruments and double
base, had a most imposing efiect. In the execution of Klein's difiicult
motett, Herr^ wer kann recht .erheben (Lord, who can rightly extol
Thee ?) the correctness and expression of the chorus, which consisted of
about 350 voices, and was unaccompanied, was peculiarly striking. fiC.
Rungenhagen had lately composed the 68th psalm, Herr mache dir auft
(Lord, arise !) with an instrumental accompaniment with great success,
and this was performed on the present occasion. The dignity and sim-
plicity of style, the harmonious arrangement, and the beauty of the melody;
were admirably calculated fur the end desipied, namely, to excite feelings
of devotion. The choral, JesuSj meine Zuversicht (Jesus, my trust,)
composed for the organ and bassoon by Julius Schneider, was admirably
performed by M. Fr. Belcke and the composer. A brilliant and splen-
didly performed Gloria^ by M. Fr. Schneider, and a very effective hymn,
Der Herr is Gott (The Lord is God), cbncluded the first part of the
church-music. The second began with a sentence from the Liturgy,
after which an anonymous organist played a sentence dn the organ. A
hymn, Der Herr ist erhohet (The Lord is exalted), with an instrumental
accompaniment by J. P. Schmidt, went off with considerable effect^ bat
was rather too short. This was followed by two psalms, the first, Der
Herr ist mein Hirte (The Lord is my pastor), composed by Julius Schmidt
in a style natural and melodious, a quintet by the solo voices being
peculiarly striking ; the second. Gross ist der Herr (Great is the Lord),
by Girschner, with an almost too strong accompaniment of the tinned
instruments ; this began very well, but ended in too theatrical a style.
A quartet was particularly melodious. The repetition of the first chorus
unnecessarily extended this otherwise somewhat prolix composition, and
the chromatic accompaniment of the bass solo must have been very difii-
cult for the tinned instruments. The concluding chorus is a good com-
position, though it would gain by being more concentrated. The solo
parts were well filled by M.M. Stiimer, Braune, Hammermeister, and
Riese. The church was full, and the interest of the audience was genera).
At noon, about 400 persons partook of the festival-repast, where they
were enlivened by song and conviviality.

The second day's operations took place in the open air, on the
banks of the Tornow, at a short distance from Potsdam. From three
to four thousand spectators assembled on land and water to partake of
the promised treat. The performances began at five o'clock p.m., and
chiefly consisted of songs for the male chorus, sometimes with, some-
times without accompaniment. Spontani's overture and triumphal
march to the opera of Olympia opened the first and third parts. The
second part was nearly occupied by a very effectively arranged cantata.
Die Zeiten des Lebens (The times of life), composed for this festival by
Reissiger. This beautiful production excited general interest, though
much of the effect was lost by the chorusses being in the open air. The
melody and instrumental parts told to great advantage. The words of
this cantata were remarkably good. The song which followed. Sang is
Klang (Song is sound), by R Schneider, was very effective, as weU as
one by Julius Schneider, called An den Gesang (To song), and a

THE MUSICAL LIBRARY,

hunting song, with an accompaniment for four horns, hy Neithardt.
The War Chorus^ from Alcidor, with a full orchestra of wind instru-
ments, told remarkably well. Solo sentences for bassoons and clarionets
aie not ill suited for the open air. J. P. Schmidt's national song,
Kennst du das Laiid (Know'st thou the Land), and a loyal song,
Heil dem Konig (Health to the Ejng), opened (?) and concluded khe
festival in a manner truly nationah

BRESLAU.
The Vocal Academy opened as usual the performances of Passion-week.
A very prevalent eough prevented them from giving Bach's Passion's
music, in the place of which we had HttndePs Samson. The Church*
Music-Union gave on the Wednesday Haydn's Stabat Mater, for the
revival of which they merit great thanks. The performances of the
Creaiiany and the Death of Jesus, the first conducted by M. Schnabel,
the second by M. Pohsner, took place on Maunday-Thnrsday and Good-
Friday. On the Saturday, M. Seidelmann ^ave his concert in the
theatre, when we heard, for the first time, Mendelsohn's overture to the
Caces ofFingal: it met with the most brilliant success. At the same
concert Beethoven's symphony in a was played with remarkable fire and
animation. The four brothers Albrech made their debitt here that
evening, and- delighted the public by their exquisite performance of
Maurer*8 celebrat^ concerto for four violins.

NEW YORK.

A pasticcio oratorio, in one act, under the title of The Judgment of Solo-
morit the poetry written and partly selected from Holy Writ, by T. H.
Reynoldson, and adapted to music from Handel's operas, has been most
successfully performed by the New Yoac Sacred Music Society. The
orchestra consisted of forty-two instrumental, and one hundred and
thirty vocal performers.

The following account is published by the manager of the New York
Italian opera, of his receipts and expenses from November 18th, 1883,
to July 1834.

XXPENSES.

Paid singers, orchestra, chorus singers, and others, en- ' Douan. cu
gaged by regular agreements for eight montlis from
1st Nov. 1833 .... • S#,304 35

Other chorus singers and performers in the orchestra,

engaged per month • . • • 3,330 24

Cashier, police-attendants, box-keepers, gas-men, hair-
dressers, tailors, servants, &c. . . • 5,470 80
Artists, their share of Benefits • . • 1,767 14
Travelling expenses for 14 individuals from Paris, and
6 from Italy, together with travelling expenses from
New York to Philadelphia and back again • 5, 541 04
Gas, coals, oil, and candles • • • 2,574 50
Lighting, carpenters, box-keepers, police-attendants,

and rent for the theatre at Philadelphia • . 1,633 37

Coach-hire, printing and posting bills in New York and

Philadelphia ..... 1,345 00
Commission to the agent in New York and Italy • 975 50
Supernumeraries, carpenters, and women for cleaning

the theatre . • • . . 1,192 00

Painter, ropes, cloth for scenery, planks, machinist • 1 ,041 96
Property at New York and Paris . . . 520 00

Dresses in Paris and New York • • •7,01015

Music, paper, in Italy, France, and New York, and for

copying . . . • , 1,356 25

House furniture, house expenses, petty cash, 8sc. • 1 ,516 14

71,578 44
S^ms still due by the manager to different singers, chorus

singers, orchestra, and other individuals • • 9,476 54

Total expenses for eight months • 81,054 98

RECEIPTS.

Subscriptions for the first 40 representations, ""°^ ^^
commencing the 18th Nov., 1833 . • 8,410 00
Second ditto for 19 representations, com-
mencing Feb. 21, 1834 . . . 1,958 00
Subscriptions in Philadelphia, for 15 represen-
tations, commencing 4th April . . 1,282 00
Cash received at the door for 40 representa-

tions in New York .... 15,987 00

Ditto for 19 ditto 4,746 50

Ditto for 15 in Philadelphia • . . 8,861 00

Ditto for 12 concerts, 1 oratorio, and 1 mass 3,268 75

Ditto for 20 benefiU . . . • 10,487 50

Ditto for manager's benefit , « . 1,026 50

Rent for the bars • • « . . 758 64

51,780 89

Deficit . . 29,275 09
The manager paid no rent in cash for the houae^ but the proprietors

reserved to themselves the exclusive use of twenty boxes in the second
tier, with the privilege of 116 free tickets for each night, all transferable,
which tickets, calculated at the same rate as the sofa seats were last
season, makes for 68 representations, a sum equal to 15,776 dolhurs ;
and there being no fourth tier in the house, the third was of little or no
profit to the manager.

[This account is in dollars. The American dollar may be taken at
about 4^. 6d. At this rate, the expenses amounted to rather above
18,000/.; the receipts to about 11,650/., and the loss to considerably
more tbm 6,000/.]

ORATORIO EXPENSES.

Very few of the number of persons who attend public perfbrmancea '
of music are aware of the expense, to say nothing of the labour at-
tending them.

In order to give our readers some correct views on this subject, we
have taken the pains to prepare a statement showing the actual cost
attending twelve consecutive performances of the New York Sacred
Music Society, and which may be therefore considered as affording a
pretty sure criterion by which to judge of the average rate of expense.

Dolten. Oil.

Principal vocal performers . . . . • 1923 09

Instrumental performers . • . • . • • 2372 50

Printing books of the words, and tickets • 279 33i
Printing and posting large show-bills • 191 34V 928 5d

Advertising in newspapers • • • 457 91 J

Refreshments .....•• 277 7

Labour, including porterage, door-keepers, &c. . • 230 17

Sundry incidental expenses, such as hire of instruments,!

tuning ditto, carriage hire, carpenter's work, extra > 393 21

light, &c. &c. . • • « • • 3

6124 53
Total receipts from twelve performances • » ^ 0814 00

Excesss of receipts over expenses .... 689 47

Of this sum there was paid to charitable institutions • 388 64

Leaving a net gain to the Society of • • . • 300 83

From this statement it will be seen that the average expense of each
performance, without including the cost of music, is upwards of 500
dollars. (About 112/. sterling*.)

Now this expense is incurred solely for the services of the profes-
sional persons engaged, and the other incidental expenses ; and it must
be borne in mind that the large body of amateurs who perform, not only
give their time and talents gratuitously, but pay towards the support ai
the institution. If the chorus had to be paid, as it is in Europe, it
would be entirely out of the question to attempt to get up such perform-
ances, unless at prices of admission that would virtually amount to an
exclusion of all but the wealthy. So that the public are indebted to the
disinterested exercise of tlie talent of our amateurs, for the means of
enjoying, at a moderate charge, musical performances, which, without
their aid, would cost three times the sum, if indeed, under existing cir*
cum stances, they could be got up at all.

In addition to the cost of oratorios, the Society is under an annual
rent of 850 dollars, besides various other expenses for salaries, &c.,

* The following Btatement will show the manner in which an oratorio was last
year gjot up in New York.

Prmcipai Poeai Perfirmen,
Mr. and Mrs. Wood, Mrs. Franklin, Mr. Sheppard and Mr. Pearson ; Gondnctor
and Leader, Mr. Penson; Director of Chorus, Mr. Sage; Organists, Messrs. Har-
rison and Lanekenau.

Orchestra, Voeai and JnstrumetUai.
Violins • • • 14 Drums . • .1

Violas • • • 3 Double Drum • • 1

Violoncellos . . 4 Instruments • • —42

Doable Basses . 3 Treble . . .47

Flutes . • . 3 Bass • • 43

Clarionets . • 4 Tenor ... 30

Basiiouns • .2 Alto • • • 15

Horns ... 3 Voeal • . — 135

limpets • • .2 Solo Singers, ftc. 9

Trombones • . 2 — _

ToUl 186

< This orchestra,* says the Awteriean Muneal Journal, * we venture to assert, was
the greatest assemblage of vocal and instrumental talent that has taken place in the
United States, and as this was one of our own grand performances, we have con-
cluded to make its numbers a matter of record ; it will no doubt appear small, if
compared with the grand and imposing assemblages of Europe, an account of the
latest of which we give in our present number, where the orchestra amounted to six
hundred and twenty-six. But London contains a million and a half of inhabitants,
New York only a quarter of a million, or one to six. It is but six or seven years
since, that we were only able to assemble at performances seventy to eii^hty per-
formers, and if the same rapid improvement continws for a few years to come tiiat
has marked the past, it wiU not be many years before this city alone can leive per*
formances with four or five hundred performers ; and when the proximity of Boston,
New York, Philadelphia, and Baltimore, and the attention now bestowed on sacred
mumc in each of those cities are considered, the time is perhaps not so distant as
some imagine when Musical Festivals will be common, equalling in numbers and
even intSent those that England is so justly proud of.'

THE MUSICAL LIBRARY.

amounting to about 2000 dollars, annually. Thia statement will enable
our readers to judge of the extent of the operations of this Society, and
of the cost of musical performances at the same time. Indeed, what is
at present considered a good oratorio cannot be got up under 500 dols.,
and they often cost upwards of 600 dollars ; but as the principal items
of expense are solo singers and orchestra, the expenses, as a matter of
course, vary in proportion to the talent employed.

A person pays a dollar to enjoy a fine musical performance, and per-
haps thinks the charge extravagant ; but when the number of persons
employed and the expense incurred are considered, the only wonder is
how the price of admission can be placed so low. Indeed, it may be
doubted whether musical performances do more than pay for themselves,
except on some special occasions.

Rossini's Mose in Egitio was produced at the Italian Opera House in
March, the principal characters by Signori Ferrero, Ravaglia, Sapignoli,
and Sig**. C. Fanti. It was very successful. The other operas which
have been given, are, L'Assedio di Corinto; LaStraniera; Ulnganno
Felica ; and La Donna del Logo.

At the Park Theatre, Mrs. Austin's [who was not successful in
London a few years since] has charmed the New- Yorkists in Cinde-
rella; in The Tempest ^ as Ariel; and in The White Lady (Boieldieu's
Dame Blanche), The house was crowded every night.

PHILADELPHIA.
The Philadelphia Glee Association gave their first concert of the fourth
season in November, in the Musical-Fund HcUl. The selections were
from Weber, Auber, Braham, Bishop, T. Cooke, Attwood, &c.

The Philadelphia Sacred Music Society commenced their season oil
the 12th of March, when The Seasons of Haydn, in an entire state, was
performed at the Masonic Hall. [This speaks highly in praise of
American taste : till a few weeks ago, when this work was performed by
the pupils of the Royal Academy of Music, it had never but once
before been heard through, even in London !]

The Philharmonic Society announce that their concerts will continue
till May.

BOSTON.
The Handel-and-Haydn Society gave an oratorio (t. e. a sacred con-
cert) on Sunday evening, the 8tb of March. The performers amounted
in number to 134 ; among the pieces introduced, were chorusses from
the pasticcio, Judah^ by Beethoven and Haydn; Handel's ' Horse and
his rider ;' the ' Agnus Dei,* and ' Dona nobis,' from Haydn's mass in b
flat ; and three cm^ruses from Neukomm's David.

BALTIMORE.
A performance, consisting of selections from The Creation^ an * Agnus
Dei,' by Rossini, a chorus of Mozart, and several new pieces by Mr.
Meineke, was given in St Paul's church, on the 9th of March. It was
ao completely successful, having been attended by from 1500 to 2000
persons, that it was repeated on the 19th of the same month.

THE DRAMA.
King's Theatre.

This house closed on Saturday, the 15th of last month, with / Puritanic
the opera which has been so great a favourite with the fashionable
world during the latter part of the season.

The season now terminated has, if we err not, consisted of forty-five
nights instead of sixty, the proper number. But though the subscribers
to boxes and stalls have been curtailed of fifteen nip^hts, the prices they
paid for them underwent not the smallest diminution. The excuse is,
that the company was so effective and expensive. We grant the effi-
ciency, from after Easter^ so far as Grisi, Lablache, Tamburini, and
Ivanoff are concerned : nay, we will add Rubini to the list, general
opinion being in his favour, whatever real judges may think of him.
But it is more than suspected, that, by an arrangement with the admini-
stration of the Italian Opera at Paris, these performers come here, when
the French season is over^ upon much more reasonable terms than
were obtained by ihose who used to arrive shortly after Christmas, and
remained the full period of at least seven months. Formerly, too, the
best performers were engaged for the exclusive use of the King's
Theatre ; they were allowed to sing at only one or two subscription con-
certs, and at no English theatre. This prohibition of course enhanced
their terms, and might have justified the manager of the Opera House
in asking proportionately high prices, at a time too when money was
ao much below its present value. Now, the best singers of the Italian
Opera are to be heard at every trumpery concert in London : they are
paraded before the public at Vauxhall ; and at Drury Lane, as also
Covent Garden, the full benefit of their talents may be enjoyed for the
sum of— one shilling !

We are far from objecting to this non-exclusive system ; we wish
innocent pleasures to be as cheap, and as generally diffused, as possible;
all that we desire is, to open the eyes of the subscribers to the imposi-
tion practised on them. If knowingly they suffer and submit, we shall
not have another word to say on the subject.

We grant the merits of the four singers above named : we admit that
there have been two good dancers : but we deny the capability of the
chorus and the fitness of the corps de Ballet, All agree that the scenery
and decorations have been abominably mean ; and it is well known to
what low prices the ^preater portion of the orchestral performers are
reduced. The most nipping economy has pervaded every department ;
even the few principal performers will be found to have been engaged
on more moderate terms than is supposed, when those terms come to be
publicly known: and their benefits, by a new theatrical contrivance,
have added to the manager's profits.

We now ask what new operas have been produced, having any ten*
dency to advance the art, or to sustain its character ? — Not one !•—
What revivals of classical works have proved the discrimination and acti-
vity of the management? — We answer, Mozart's chef-d^cBUvre was
performed once, and that was once too often, for most inhumanly was it
massacred. The remark of Garat, the famous singer, made many years
ago, on that great work being produced in Paris, may be applied to it
as performed here in May last, — ' Don Juan a paru incognito d
Popera.*

The season has been a most productive one ; yet on the very last
night the performance was delayed in consequence of the band having
refused to enter the orchestra till they were paid ; and a report is indus-
triously circulated that no profit has accrued ! This is in order to keep
up, if possible, the high prices ; just as in Mark Lane every year's
harvest is declared to be deficient But it will require more credulity
in the public than they possess, to allow them to believe that the last
season of the opera has not been singularly profitable, and that the
harvest just got in is not abundant in the extreme. '

We have allowed forty-five nights to the season, but this is fiir too
liberal a number. It cannot be pretended that the opera was worth
even the smallest price before Easter, that is, till the French had re-
leased the principal singers, and from the Easter week to the 15lh of
August there were about thirty-four subscription-niffhts. A good box
is let at three hundred guineas. Counting then thirty-four nights to
the season, the price per night of such a box is nine pounds ; or thirtv
shillinffs per night for each seat ! If all their other expenses keep pace with
this, the landed proprietors may well complain of their difficulties. Let
us look back to former years. It is granted that the season of 1817^
when Fodor, Camporese, Pasta, Crivelli, Ambrogetti, and Angrisani,
were engaged, was a splendid one, from the first night to the last, and
that the finest operas ever heard on the Italian stage were given, by the
most complete company that ever appeared at the King's Theatre.
Money was then five-ana-twenty per cent, below its present value. Yet
the best boxes were then let at 250 guineas, or about four guineas per
night each, and the manager cleared little less than ten thousand
pounds ! It must be granted, however, that the theatre itself — including
ground-rent, taxes, insurance, repairs, &c., &c,— did not amount to more
than four thousand pounds.

English Opera-House^ Lyceum.

The manager of this house, determined not to add, at present at least, to
the sum of between 3000/. and 4000/. lost during this season, has lent,
for a time, the theatre to his company, who re-opened it on Monday the
1 1th ult, with a ballad-opera, The Covenanters^ originally written, under
another name, by Mr. I>ibdin, and now produced, strengthened by a
dozen or more Scottish airs, some melodramatic music, and a kind of
medley overture, instrumented and arranged by Mr. Loder, the success-
ful composer of Nourjahad.

The story briefly is as follows : An old farmer, a Covenanter, — ^who,
by-the-bye, is a fuddling dealer in cant — secretes a preacher in his house*
is detected by a party of government troops, and condemned to death
by their officer, one of the many military ruffians of that period, who
had been * crost in Iqve,' t. e. thwarted in his villainous designs against
the old man's daughter. One of the soldiers, Donald Gr€Bme^ the young
woman's betrothed, is ordered to shoot her father, but introduces his
ball into the head of his unjust commander instead. He is arrested,
carried off, then rescued by some clans-folks ; and it is unnecessary to
say how the piece ends.

The drama is not uninteresting, and the melodies of Caledonia never
fail to please ; hence the opera has to a certain extent proved successfiil.
But a broad-sword fight, which the learned in such matters say is a pro-
digy in its way, divides with the music the applause, it must be con-
fessed ; and we admit the fact with a sigh.

LONDON : CHARLES KNIGHT, 22, LUDGATB STREET.

Pbimtbd bx W. CLOWES and SONS, Dvmm Stiiut, Lahbsth.

MUSICAIi lilBRARY.

MonfblVi Sb^ippltmtnt

No. XIX. OCTOBER, 1835. Price Sixpence.

The Music of Part XIX.» ^

The French Grand Opera 99

A Musical Idiot )00

Iiectures on Sound .101

CONTENTS.

Page

The Flute lUi

Kettle Drums 101

York Musical Festival 102

Apologue of Jean-Paul Richter • • . • 105

Pag*

Necrology .105

Review • 105

Foreign Musical Report 106

Drama • . • • • 108

THE MUSIC OP PART XIX.

Overture, Cost fan Tutte — (Page 145).'

The lightest and most airy of Mozart's overtures, therefore a fit
musical prologue to the gayest and most playful of his dramatic
compositions. This is in the manner of tlie best Italian overtures
of a former age, — of those of Piccini, Paisiello, and Cimarosa ; but
as far superior to the instrumental productions of his predecessors
as his operas are to all others, whether produced before or after
his time.

Adagio — (Page 110),

from a sonata — originally written for the harp, and adapted for
the piano-forte by Clementi— composed by

MARIE-MARTIN-MARCELLE, VICOMTE DE MARIN.

This French nobleman, born near Bayonne, in 1769, is a de-
scendant of the Marini, a family which gave so many doges to
Venice. His father, an officer of rank in the French army,
devoted all his vacant hours to mathematics and music, and when
his son had only completed his fourth year he commenced in-
structing him in the latter art, in which the child made such pro-
gress, that, at seven years of age, he composed a piano-forte
sonata. He took lessons on the violin of the celebrated Nardini,
who considered him his best scholar. Hosbruker was his master
for the harp ; but, destined, as he seems to have been, to work a
revolution in that instrument, he soon felt disdain for the long-
established method, and created a new style, — a style now gene-
rally adopted, though too frequently caricatured in London by a
performer of singular notoriety. The young Marin was, in 1783,
crowned by the Musical Society at Rome, before whom he ex-
ecuted on the harp, at first sight, some of Sebastian Bach's most
elaborate and diflicult fugues ! At fifteen, his military education
commenced, at Versailles, and at seventeen he became captain
of dragoons. He then obtained permission to travel, but the revo-
lution having taken place while he was abroad, he was entered on
the list of emigres, and continued an exile during many years.
A considerable portion of this time he passed in England, where,
independently of his rank, his talents introduced him into the
best society, and out of this he seldom, if ever, was heard. He
never performed in public.

When Bonaparte became first consul, he permitted M. de
Marin's return to France, where he married a lady of consi-
derable fortune, and then certainly no longer continued to derive
any pecuniary advantage from the exercise of his talent; though
probably it had produced something more solid than admiration
and fame, during the period of his expatriation. But it appears
from some verses addressed to him by the celebrated poet Delille,
that his services were always willingly exerted in the cause of
charity. The Abbd also mentions his gallantry as a soldier, as
well as his personal advantages, in terms of no mean praise.*

* «« Ton art, qui dant la Grice aurait eu det autelf,
O Marin I sot dompter lea montret plua eruelS|
Le diseipoir affieuz, la hideuae indigence.
Que de rois au pUuair miUat la biexuaiiaace*
Vol. n.

M. de Marin composed much, but published only a set of
violin trios, though tw^enty-four of his works for the harp have
been printed. Clementi was so warm an admirer of the Vicomte's

J)roductions, that he arranged many for the piano-forte, and pub-
ished them in London. Among these is the sonata whence the
present fine adagio is extracted. It is our intention to give,
shortly, the last movement of the same masterly work.

Divertissement — (Page 113),

from Six Dicertissemens en Caprices, par I, Moscheles, CEuvre 28;
and now altered and augmented for The Musical Librart, by
the author.

Ignatz Moschelks

was born at Prague in 1794. His father, a merchant, being
musical, the child, almost as a matter of course, imbibed his
parent's taste, which was manifest at a very early age. His first
good master was Dionys Weber, the celebrated theorist, and
when he had attained only his eleventh year, he ranked as the
best pianist in the capital of Bohemia. At the age of fourteen he
went to Vienna, and became the disciple of Albrechtsberger, but
took lessons also of Salieri, in order to make himself acquainted
with the nature of Italian vocal composition. He then com-
menced his musical travels, and at the courts of Sasfony and
Bavaria was received in the most flattering manner. In 1820 he
set out on a tour through Holland, France, and England, and
the brilliant success which attended his first performance in Lon-
don is too well known to be dwelt on here. Since that time he
has made this metropolis his place of residence, though he an-
nually passes the autumn in visits to various parts of the conti-
nent. M. Moscheles' productions, which are chiefly for the
piano-forte, are of the highest order ; and an overture^ produced
at the Philharmonic Concerts during the late season, leads us to
hope that he will devote more of his time in future to grand
orchestral composition, in which, judging from that work, he
seems eminently qualified to excel. As a piano-forte player he
may be said to divide the crown with Hummel, Cramer having
retired ; but possessing all the executive power of the former, he
has greater energy and a more vigorous and original imagina-
tion.

Rondo— (Page 116),

on the popular air, *' Batelier, dit Lisette," in Herold's clever
opera, Marie. The subject is universally allowed to be melodious
and original. It has been treated by several masters, but never,
in our opinion^ so successfully as in the present instance by
Kulau.

Introduction and Fugue — (Page 122).
This Aigue is from Bach's celebrated work, Le Clavecin bien

St^le pour toi aeul, ton talent g^uereux
Mit ton noble aalaire auz mains des malheuieux!
Ainai, par le concours de brillantei merreilles,
. Charmant le conir, I'esprit, lea yeuz, et les oreille%
On te vit, tour k tour, vouer d noi malheura
Ta lyre et ton ep4e, et ton tang et tea pleura,
Le concert de vertu, de grftce et de g^nie;
Ah I ToiU^ ta plus belle et plus douce harmonie I "'•DauLUi

THE MUSICAL LIBRARY.

TempM, and is the most melodious and least elaborated of that
far-mmed collection. The introduction here given is a part only
of the prelude to the fugue. ^ .

JOHANK SEBASTIAN BACH*

' was horn at Eisenach, in the circle of Upper Saxony, in ICpSc
His ancestor in the fourth degree, Veit Bach, was a miller and
baker at Presburg, in Hungary, early in the sixteenth century,
but being obliged to quit his country on account of reli^ous
troubles, ne settled at a village near Saxa-Gotha. In his leisure
hours he amused himself with his guitar, and communicated his
taste for music to his two sons, who made it their profession, and
taught it to their children, by whom it was handed on, till, by
degrees, six generations, including the founder, practised the har-
monic art, and held among them nearly all the offices of chanters
and organists in Thuringia. In the Allgemeine Musikalische
Zeitung (1823) is a curious genealogical tree of the Bach family-^
John appearing in the fifth generation — ^which shows that, down
to the middle of last century, there were fifty-eight male descend-
ants from Veit, all of whom, according to Forkel, were professors
of music'

Sebastian, when only ten years of age, having lost his father,
became the pupil of an elder brother; but this relation also dying,
he entered the choir of St. M ichaeFs, Luneberg, as a soprano
singer. When his voice changed, he became court-musician at
Weimar, and the year after, was appointed organist of Amstadt.
In 1708 the Duke of Weimar made him court-organist, and in
1717 promoted him to the direction of his concerts. After this
he accepted the oflice o( Kapellmeister to the Prince of Anhalt-
Cothen, and in 1723 was appointed director of music to St.
Thomas's School, Leipzig, which place he held till his death.

In 1740 Bach paid a visit to Frederick the Great, at Potsdam,
where he was received in a distinguished manner, and wrote the
well-known fugue, on a subject given him by the king. Some
years after he suffered from a disease in his eyes, and, undergoing
an unsuccessful operation, became quite blind. He died in 1750,
from an attack of apoplexy.

' Bach's compositions, m almost every class, are numerous ; of
these, scarcely any are known out of Germany, except his Clavecin
Hen TempM, or Preludes and Fugues in all the keys. These
were composed as exercises, for his sons, and while we admit
(says the work above quoted) the deep learning and ingenious
contrivance they display, as well as the vast labour they must
have eost, we are heretical enough to think that, as regards effect —
and what is music without? — they have been over-valued. His
vocal works are, in our opinion, much more likely to convey his
name to distant ages, than those of the instrumental kind. Among
the former are a funeral cantata, a magnificat, a motet, several
choraUy or psalm-tunes, and, above all, ois Passionsmusik, which
show that he possessed genius as well as science; that he could
not only write laborious fugues, but create pleasing melodies, and
clothe these in harmonies as ravishing as recondite.*

Canzonet— (Page 145).

O tuneful voice ! I still deplore

Those accents wbicb, though heard mo mover

Still vibrate on my heart ;
In Echo's cave I long to dwell.
And still would hear the sad farewell.

When we were doom'd to part.

Bright eyes ! O that the task were mine '
To guard the liquid fires that shine.

And round your orbits play,—
To watch them with a veBtai's care.
And feed with smiles a light so fair,

That it may ne'er decay.

The words by Mrs. John Hunter, the music by Haydn. This,
not having been included in the composer*s two sets of canzonets,
as at first intended, is less known than most of those, but not less
entitled to our admiration. .

Glee— (Page 1:50).

Tell me, then, the reason why
Love from hearts that loved does fly ?
Why the bird will build a nest
Where it ne'er intends to rest?

Still on wing, or on his knees,
Love does nothing by degrees ;
All his joys are fleeting dreams,
All his woes severe extremes.

We know not the author of these rather silly lines; the music,
which is exceedingly melodious and graceful, and may be said ta
be wholly unknown, is by

LUFFMAN ATTERBURY,

who united the business of building with the profession of music
He was one of the Musicians in Ordinary to George HL, and
between the years 1778'and 1780, obtained five prizes from the
Catch Club, for three glees and two catches. About the year
1790 he published A Collection of Twelve Glees, Rounds, ^c,
and at nearly the same period produced a short Oratorio, which
was performed by a full band at Kingston, in Surrey. His com-
positions display much taste, but are more distinguished by agree-
able melody than by vigour or science. He died either at the
end of the last century or the beginning of the present, at Ted-
dington, in Middlesex, where he resided, aged about sixty.

composed by

Cavatina — (Page 152),

Soave immagine d'amor!

Di pace
Tu spiri all' anima

Dolce vigor.
Se tal delizia m'invidi^
£' troppo barbaro

11 tuo rigor.

SAVERIO MERCADANTE,

f This memoir is extracted and abridged from the Pamy C^optfdU^ art Bagb«

who had his birth at Naples, in 1798, and studied music in the
Conservatorio San Sebastiano, under Zingarelli. In 1818 he wrote
a Cantata for the Teatro Fondo, which was successful; and shortly
after produced UApoteosi d' Ercole at the San Carlo theatre,
which was well received. In 1821 he brought out his Elisa e
Claudio at Bologna, which made furore both in that city and at
Milan : it was, in consequence, performed at the King^s Theatre,
in 1823> and most justly condemned. Mercadante is one of the
imitators of Rossini, and as a new name has more attraction for
the Italians than good music, his works were, for a brief tim^
applauded, but soon fell into neglect. NeverUielesSj some few of
his ariette possess considerable merit, and we have selected the
present, which is scarcely known in this country, as a very fiivour-*
able specimen of his composition.

CANieoNET — (Page 154).

Haste, my Nannette, my lovely maid !

Haste to the bower thy swain has made:

For thee alone I made the bower,

And strew'd the path with many a flower,]

None but my sheep shall near us come ;

Venus be praised ! my sheep are dumb.

Great god of love ! take thou my crook.

To keep the wolf from Nannette's flock ;

Guard thou the sheep, to her so dear.

My own, alas ! are less my care.

But of the wolf if thou'rt afraid.

Come not to us to call for aid ;

For with her swain my love shall stray,

Though the wolf prowl, and the sheep stray^

Written by Prior; the music by Travrrs.

Madrigal — (Page IGO).

Since first I saw your ftke I vowed

To honour and renown you ;
If now I be disdained, I wish

My heart had never known you.

Whatl I that loved, and you that liked,

Shall we begin to wrangle ?
No, no, no, no, my heart is fast,

And cannot dise n t a ng l e.

The sun, whose beams most glorious aie,

Rejecteth no beholder,
And your sweet beauty, past compare^'

Made my poor eyes the bolder. .

THE MUSICAL LIBRARY.

Where beauty moves and wit delights.

And signs of kindness bind me.
There, O ! there, where'er I go,

I'll leave my heart behind me.

This exquisitely beautiful piece of harmony is the composition of

THOMAS FORD,

-one of thd musicians on tKe establishment of Prince Charles
(afterwards Charles I.). He published a work under Uie title of
Mtmcke of Sundre Kindes, set forth in two books, 8fc.; and his
name appears to some Rounds in Hilton's Collection. We have
in vain endeavoured to discover the author of the words.

Canzonet — (Page 162).

I told my nymph, I told her true,
My fields were small, my flocks were few;
Whilcf faultering accents spoke my fear
That Flavia might not prove sincere.

Of crops destroy'd by vernal cold.
And vagrant sheep that left my fold ;
Of these she heard, yet bore to hear ;
And is not Flavia then sincere ?

How, changed by fortune's fickle wind.
The friends I loved became unkind.
She heard,— ^and shed a gracious tear;
And is not Flavia then sincere ?

How, if she deign my love to bless,
My Flavia must not hope for dress : —
This, too, she heard, and smiled to hear;
And Flavia sure must be sincere.

Go shear your flocks, ye jovial swains,
Go reap the plenty of your plains ;
Despoird of all which you revere,
I know my Flavians love sincere.

This is the first song of one of the tenderest and sweetest of our
elegiac and pastoral poets^

"WILLIAM SHENSTONE,

bom in 1714, at the Leasowes, in Shropshire, the estate of his
father, Thomas Shenstone, Esq., and educated at Pembroke Col-
lege, Oxford. He died, unmarried, in 1763. The music is the
composition of

JOHN JULIUS GBAEFF,

a German, bom at Mentz, in 1762, but naturalized in this country,
which he reached in 1784, and, we believe, never after quitted.
He was originally a flute player, but, wisely, soon changed his
pursuit, became a teacher of the piano-forte, and accumulated an
independent fortune, on which, having married an English lady,
he retired a considerable time before his death, which took place a
few years ago, Mr. GraeflF was first a pupil of Abel, and subse-
quently of Haydn. His compositions are few, and were mainly
calculated for his own pupils ; but his Six Canzonets*, whence
the present is selected, prove him to have been a musician pos-
sessed both of knowledge and taste. His property, and a most
respectable name, are inherited by an only son, a gentleman at
the English bar.

THE FRENCH GRAND OPERA.

{From Thb Timbs.)

Those of our readers who have never visited Paris are not, per-
haps, aware that the vocal representations at this theatre have,
since its first establishment about a century ago, been given in
the language least fit perhaps of any in Europe for singing-^the
lang^affe of the country. The style of composition of the operas
^eatinea exclusively for its boards also assumed a pecuharitv
which in the course of time became, or at least was considered,
•quite national, from its being confined to the place alteraatelv
•eedled Academie Royale, Academic Nationale, Acad^mie Impe-
liale, for the present simply designated Academic de Musique,
and which will probably, in the course of a few months, be rein*
stated in the Royal auspices of which it has boasted at so many
•different times.

The music peculiar to this Academie was for a great number of
years of a style which did not succeed in making converts in the
musical world out of France. It was tolerated for a whole cen-

* A work DOW Toy littU knoini» and become Bcttcoi Imi baling many cUims to

tury by the Parisian amateurs, because their ears were not fanii-
liarized with any other dramatic music, and because the decora*
tive splendour with which the representations were carefully got
up, added to the superior excellence of the dancing with which
they were invariably interspersed, gave to the place a power of
attraction which, among a people like the French, who are capti-
vated mostly by show and glitter, the music, standing simply on
its own merits, could never have secured.

In 1819, however, a second attempt since the peace to establish
an Italian Opera in Paris having proved successful, began seriously
to divert the attention of real connoisseurs from the declamatory
trash which has usurped the name of classical music at the Na-
tional Academie, The superior and admirable style of singing
of Madame Fodor, then in her best days, of the late Garcia and
Pellegrini, of Bordogni, whose highly florid and tasteful singing
is hardly to be traced in his powerless exhibitions of the present
day, was admitted by all people of taste to be the ne plus ultra
of vocal perfection. Then came Madame Pasta, Mademoiselle
Sontag, Madame Malibran, and finally Mademoiselle Grisi,
along with the Davids, Rubinis, Lablacbes, Gallis, and others,
all of whom not only kept up the fame of Italian music, but also
increased the power of attraction of the Italian Opera in a way
that was sensibly felt by the French establishment, whose receipte
by degrees fell considerably short of its expenses.

The theatre that suffered most from this competition, however,
was the Opera Comique (Fedeau), which, receiving no aid from
the government, like the other establishments, to enable it to keep
its doors open, was in the course of time compelled to shut them
up. The Academie was, notwithstanding the still remaining at-
traction of its splendid ballets, threatened with a similar alterna-
tive, to which it would in fact have been driven at last, had it not
been a semi-government concern, whereby it was entitled to the
deficit in its accounts, which was regularly supplied by the trea-
sury. The deficit made good in this way is known frequently to
have amounted annually to 3,000,000 francs, and was seldom
under half that sum.

The visit first paid, in 1822, by Rossini to Paris, suggested to
the Minister of the Household, who had the superintendence of
the theatres subventionnes, the idea of his being made instrumen-
tal to the recovery of the popularity of the Academie, Handsome
terms were offered to the maestro to undertake the management
of the French Opera, on condition that he should set about pre-
paring a series of operas in his best style of composition, suited to
French words. Rossini agreed, lost no time in commencing his
task, and soon brought out his GuiUaume Tell, Comte Ory^ and
Le Siege de Corinthe, to which the celebrity of his name insured
the highest success. He was under an engagement to write more
operas for the place, when the revolution of 1830 suddenly inter-
rupted his labours, and cancelled his contract with the Ministre
de la Maison du Roi, whose office was itself abolished. The sub-
vention or aid-money was from that time withdrawn, and the esta-
blishment left to the chance of its own resources, which would
probably have brought ruin upon it in a very short time, had not
an adventurer of the name of Veron undertaken to keep its doors
open in his own name, and at his own risk and peril. This man
had nothing to lose if he failed, and saw there was much to gain
if he succeeded. Rossini*s aid, however, could no longer be se-
cured, and Veron knew that, as a place of musical entertainment,
he would not easily succeed in keeping up its lately achieved suc-
cessful rivalship with the Italian Opera, whose popularity had not
been impaired. Setting the attraction of music aside therefore,
and giving it a station among the mere accessories to the perfec-
tion of the ensemble, he converted the place literally into an
Academie de Danse, and centered all its power of attraction in
the splendour of choregraphic exhibitions. By dint of solicitation,
too, Veron succeeded in obtaining a subvention from the Govern-
ment to the extent of 500,000f. per annum.

But all these circumstances would have left M. Veron far short
of his accounts at the end of the year without the powerful and
unanimous aid of the Parisian press. This .aid, rumour says, was
not obtained in a way that would reflect much credit on certain
persons connected with the French press. There are two classes
of writers in the French papers : the political redacteurs, men
generally above the reach of corruption, and the writers of what
is called i\\B feuiUeton — ^the part of the paper devoted to critiques
of theatrical representations, reviews of new publications, and
scientific notices of all kinds. The writers of critiques are for the
most part ia same way connected with theatres^ actors, and dra-

100

THE MUSICAL LIBRARY.

matic writers, among whom they spend most of their time ; and
far from making a secret of their contributions, they take pains to
render them as notorious as possible, frequently by signing their
names to them. Veron knew, or became acquainted with, all
the writers of feuilletons in Paris, and he knew also a way by
which he could make sure of securing their aid. In France news-
paper puffs invariably produce an effect which is the reverse of
the disgust they hardly ever fail to raise among all classes of
sober-minded men in this country. Even when it is quite noto-
rious to all the world that the puff* has been regularly paid for,
or obtained through a bribe, it does not fail in its effect on the
light-minded and unthinking Frenchman. The newspaper dicta,
in regard to dramatic representations, decide their fate, even if
the audience has not undertaken the task on a first night's per-
formance. When a newspaper-paid puff assures the badauds
that " all the world " goes to see the performance of a certain
piece at a certain theatre, all the Parisian world is sure enough
to go. It has been a remarkable circumstance in Veron's ma-
nagement of the French Opera, that from the moment of its
being undertaken by him, until very lately, the Parisian ymi/fe^on
writers never found any thing to criticize in that theatre ; but, on
the contrary, were invariably most extravagant in the lavish of
their praise. They wrote in ecstacies of every doing of M. Veron,
and filled his theatre, and thereby their own pockets, as fast as
they could. The world knew well enough the interested motive
of tneir praise, but it chose not to mind the motive, and it listened
only to the word. With hardly three or four novelties, of which
Robert le Diabh was the only one of a decidedly superior class,
Veron has contrived during five years to fill his theatre every
night in a manner quite unprecedented in its career. Having
attained his object, he has lately withdrawn from the manage-
ment, which is taken up by one of his deputies, M. Duponchel.
Already we are told by the /etiilletonistes of the Parisian press
that this M. Duponchel is to carry on the establishment on a
plan which will fill the whole world with its fame. They mean,
perhaps, that his plan is the one which was acted upon by his
predecessor.

The foregoing is an interesting, and we believe a very accurate,
account of the present state of the Grand Opera of Paris : as such
we transfer it to our columns, for it is a link in the history of
music of some importance in a work of this kind, the design of
which is, not only to furnish contemporary readers with informa-
tion and amusement, but also to put on permanent record what-
ever relates to the art that may prove useful to future writers and
inquirers.

But we wish likewise to say a few words on two subjects
touched on in the above article, namely, the unfitness of the
French language for music, and the practice of theatrical puffing,
carried to so indecent an extent in the Parisian journals.

Of the living European languages, we really know but one that
is musical in its nature ; need it be said that we mean the Italian ?
The English is sibilating and rough ; the German is hard and
guttural ; and the Spanish, though the best, as regards euphony,
of the three, has too many throat sounds^ for musical purposes.
The nasal tendency of the French language is as inimi^ to
music as the hissing, the rude, and the guttural sounds of the
English and German, but not more so. Disagreeable as is the
en of the French in a continued sound, the ach of the German,
and the th of the English are not less displeasing. But the
French pronounce their language, even in singing, very articu-
lately, while the English and Germans soften down the asperities
and throat sounds of their langujages, at the expense of just
pronunciation. Hence the imperfections of the former are always
prominent, while those of the two last are in a considerable
measure concealed. To a French ear the hissing of the English
and its th, and the guttural, hard character of the German, are as
unmusical and painful, as the nasal sounds of the French are to
an English and a German ear. An Italian, whose language is,
as Metastasio said, music itself, finds French, English, and Ger-
man all equally cacophonous ; and those to whom the three last-
named tongues are native, discover their comparative unfitness for
music, the moment they are adapted to airs which had been
previously heard sung to Italian words. Were we called upon to
decide, we should find it difficult to say which of the three
languages, — the French, English, and German, — is least suited
to musical purposes, considering the question in the abstract :
habit, however, not only reconcues each nation to the imperfec-

tions of its tongue, but renders them negatively agreeable. What
Englishman discovers the excess of sibilation in the line

•Thy choicest gifts in store?*
And what Frenchman perceives that in ,

• Vive Henri Quatre,'
the principal syllable is exceedingly nasal ?

Of the puffing system, we feel some degree of pride in saying,
that, so far as the actual critics of our daily press are concerned,
they cannot justly be charged with the venal practices imputed to
the French writers ; but the fabricators of small paragraphs in
some of our newspapers are quite as prone to indulge certain
partialities, as the French are to turn their influence to account.
The Times certainly cannot be accused of those ' puffs prelimi-
nary,' as Sheridan calls them, which are to be found in most of
the daily papers : we seldom, if ever, meet with ' report speaks
most favorably,' and so forth, in that journal ; but in two of the
other morning papers, these minor paragraphs are so frequent,
extravagant, and palpable, that they have lost all their eflicacy,
though the authors seem ignorant of their impotency. Did ever
yet a London theatre open without a previous announcement, in

small puffs, in the and the • , that the ensuing

season would be ' the most brilliant ever known ? ' Did ever
manager travel into the provinces, or go abroad in search of
performers, without its being stated that Mr. So-and-So 'has
been most successful in catering for the public,' &c. &c. ? We
do not remember a single instance of a company having been
engaged, particularly at the King's Theatre, which has not, before
appearance, been lauded as * the most complete in all depart-
ments,' that ever before had been collected. The failure at the
end of the season proves no warning to writers of this parasitical
kind, they repeat the same language next year with as little
knowledge of facts, and trust to the probability that their readers
will have forgotten all their former, their annual praises, — praises
of persons of whose qualifications they were utterly unqualified to
judge, and of whose very names they, in most cases, did not know
the true orthography.

A MUSICAL IDIOT.

A RECENT number of the Gazette Medicate, presented to the
Academy, contains the following notice of a case of musical sen-
sibility hiffhly developed in an idiot.

A female, about sixty years of age, who when quite young was
entered among the insane of the Saipetriere, was afterwards placed
in the service of M. Mitivie. She never possessed more than an
exceedingly limited intellect, was incapable of dressing herself,
of doing any kind of work, or even of uttering an articulate sound.
When she wished to express herself, she made a kind of grunting
or hoarse noise, and repeated it till her meaning was understood.
Nevertheless, she is a musician, and her skill in sounds goes to a
very considerable extent.

The first circumstance that led us to observe this talent was of
a nature to fix our attention. A young woman, an inferior dancer
or actress at one of the minor theatres of Paris, not long since
was admitted in the hospital, and placed under restraint. While
there, her theatrical habits returned at intervals ; she sang, de-
claimed, gesticulated, and danced, supporting the characters which
she believed she filled. One day she extended her hands to the
old idiot, and sang a song, to which she jumped in time. The
idiot followed the air, not the words, for she could not speak, but
with her voice ; she jumped also in time, and appeared to enjoy
great pleasure. It then occurred to us that she mi^ht be able to
sing anything we should propose. Having allowed her to finish
her dance, we begged her to sing certain airs that we described.
Our collection was sooner exhausted than hers. It was sufficient,
we were told, that she should hear an air once to remember it
ever after, and we soon found that she could repeat it whenever
requested. M. Guerry, who was present, composed an air on
the spot. The idiot followed him, and, at our desire, sang it.
He tnen began another melody : she again followed him ; but,
instead of stopping as he did, she completed the air that had
been begun, finishing it by an addition of her own, which agreed
well with the beginnmg. Wishing to ascertain what effect would
be produced on her by a musical instrument, one of the party
played on the flute : she was all eyes and ears, and repeated the
airs that were performed. M. Listz was requested to attend : h6
touched the piano-forte in her presence. 1 cannot express her

THE MUSICAL LIBRARY.

101

delight; sh.e was immovable, and with her eye§ fixed on the finders
of the performer, at the same time biting her fingers, she was m a
state impossible to describe. It may be said that she almost vi-
brated with each of the chords of the instrument — that, she felt
all that passed in the soul of the musician. She repeated only
what she had heard. The sudden change from grave to acute
sounds acted upon her with pro^gious violence, producing an
e£fect similar to an electric shock. The same passage of low and
high notes was executed more than twenty times, and always
with the same result. She Uked and desired fruit. Wishing to
learn whether she preferred that to music, we gave her some
apricots, which she utterly disregarded while M. Listz con-
tiaued to touch the piano-forte, and only thought of them, and
began to eat, when she ceased to hear the music. — La Gazette
Musieale.

LECTURES ON SOUND.

During the spring a course of eight lectures on Acoustics were
delivered at King's College, London, by Charles Wheat-
stone, Esq., Professor of Experimental Philosophy in the Col-
lege, which were highly satisfactory to the learned in this branch
of physics; and not only instructive, but entertaining to those who
wished to become acquainted with the philosophical principles of
that from which tbe science and art of music emanate. Mr.
Wheatstone got up his course in a most complete manner ; his
models, machinery,, diagreims, &c., were abundant and perfect ;
his matter was good^ much of it new, and his experiments, with
an exception or two, very successful.

We can only afford room for a brief, sketch of these lectures,
for the arrangement of which we are indebted to the Professor's
syllabus. Tney gave a geiieral view of our present knowledge of
the laws of souna, including the recent discoveries of Chladni,
Savart, Cagniard de la Tour, Weber, WilHs, Faraday, &c. ; the
application of these laws to the construction of musical and
acoustic instruments, acoustic buildings, &c., as well as to the
mechanism of the organs of hearing, voice, and speech ; and the
intimate analogies between the undulatory theory of light and that
•of sound were clearly pointed out.

Lecture I. — Of the nature and production of musical sound ;
•various modes of ascertaining the number of vibrations corre-
sponding to a given sound ; sounds produced by revolving wheels.
M. Cagniard de la Tour's syren. Trevelyan's experiments on
the vibrations of heated metals. Proposed standard of pitch ;
numerical ratios of sound ; the monochord ; tonometers of vari-
ous kinds ; consonance and dissonance ; harmonic sounds ; forma-
tion of the musical scale ; temperament.

Lecture II. — Propagation of sound through the air; experi-
ments to determine its velocity; correspondence of theory with
experiment ; instruments for representing the motions of the aerial
particles during the progress of a wave; interferences; beats;
resultant sounds or grave harmonics; reflected sounds ; echoes.
M. Cagniard de la Tour's experiments on the production of
sound in Uquids; CoUadon and Sturm's experiments on the pro-
pagation of sound through Uquids. Transmission of sound through
solid bodies; the sounds of a musical instrument shown to be per-
fectly transmissible through a solid rod.

Lecture III. — ^The sonorous vibrations of air in cylindrical and
•conical tubes. Experiments of S.auveur, Bernouilli, Biot, Savart,
Hopkins, &c. Wind musical instruments. New experiments
•on the production of sound by flame ; thermo-harmonica.

Lecture IV. — Experiments of Chladni, Savart, and Weber on
the longitudinal vibrations of wires and rods ; transversal vibra-
tions of chords; iGolian Harp; Tiiimpet Marigni; stringed
musical instruments; transversal vibrations of rods; Chladni's
Euphone, and Clavi-cylinder ; the Edephone ; metallic tongues
caused to vibrate by a current of air; iEolina, Symphonion,
iGolian Organ, &c. Co-existing vibrations ; the Kaleidophone ;
vibrations of tuning forks, rings, &c.

Lecture V. — Vibrations of elastic surfaces. Chladni and
Savart's experiments on the acoustic figures ; all the variety of
these figures shown to arise from the co-existence of simple modes
of vibration. Phenomena produced by currents of air on vibrat-
ing surfaces ; experiments of Oersted, Faraday, &c. Undulations
of liquids on vibrating surfaces. Savart' s investigations of the
vibrations of crystallized substances. Vibrations of curved sur-
faces ; musical glasses ; Dr. Franklin's harmonica. Savart*s ex-
periments on th^ vibrations of bodies of three dimensions.

Lecture Vl.f— Communicated vibratidns * acoustic figures of
stretched membranes, and sounding-boards; tangential vibra-
tiotls. Simple and multiple resonance; the Javanese Oender ;
explaiiation of the sounds of the Jews* harp ; forded tibrations^ or
the vibrations of systems ; mutual influence of vibrating tongues
and columns of air; the Tsing, or Chinese organ, &c. Tubes
with extensible sides.

Lecture VII. — Classification of musical instruments. The
Organ. Application of acoustics to architecture. Analogies of
light and sound.

Lecture VIII. — Mechanism of the organs of hearing ; instru-
ments to assist the hearing ; the hearing trumpet, microphone,
stethoscope, &c. Mechanism of the voice; investigations of
Savart, Bennati, Willis, &c. Mechanism of speech ; experiments
of Kratzenstein, De Kempelen, and Willis, on the production of
articulate sounds ; De Kempelen*s speaking machine.

THE FLUTE.

To the Editor of the Supplement to the Musical Library.

36, Great Tiichfield'Street, Sept. 4, 1834*
Sir, — ^The difficulty concerning the efiect produced on the
Flute, alluded to in your last number by a correspondent, is of
much more easy solution than many other questions in acoustics.
The less the mouth-hole is covered by the under lip, the sharper
the sounds become, and when your correspondent plays in the
manner he describes, a difference is made of half a note. This
may be proved by obtaining the full tone of the flute without
covering the mouth -hole at all,

Youra, respectfully,
C.W.

In reference to a paragraph which appeared in No. 18 of the
Supplement to the Musical Library, page 88, respecting the Flute,
the following particulars, which appeared in the Quarterly J irnrnal
of Science, Literature, and Art, No. 5, April, 1828, from the pen
of Mr. Charles (now Professor) Wheatstone, will satisfactorily ex-
plain the phenomenon*.

' If one of the branches of a vibrating tuning-fork be brought
near the embouchure of a flute, the lateral apertures of which are
stopped, so as to render it capable of producing the same sound as
the fork, then the feeble and scarcely audible sound of the fork
will be augmented by the rich resonance of the column of aur
within the flute.

' This experiment may be easily tried on a concert flute, with
a c tuning-fork. To ensure siiccess, it is necessary to premise,
that, when a flute is blown into with the mouth, the under lip
partly covering the embouchure (or mouth-hole) renders the sound
about a semi-tone flatter than the sound when the embouchure is
entirely uncovered ; it will be necessary, therefore, to finger the
flute for B natural, by stopping the first or top hole, when a
tuning-fork is employed.' So that the note produced will be c
natural, precisely the same pitch as the fork ; but if the flute were
blown into by the mouthy with the first hole covered, the note
would be half a tone lower — hence the mute notes are heard, in
the key of e flat, when the embouchure is placed to the ear, while
the fingering is that of the key of d : because the mouth-hole is
quite open. j^ p^

KETTLE DRUMS.

We have received a second letter from the above gentleman^
Mr. C. W., claiming, as it appears to us, the ingenious invention,
mentioned in our last, by which a drum is tuned by the single
operation of one screw. If we correctly understand Mr. W., Mr.
Hill has the merit of having encouraged him in his undertaking,
but is not entitled to be considered the inventor, and does not
wish to appear as such. We can only say that the communica-
tion was printed in the form in which it reached us, with the
exception of a few verbal alterations.

Mr. W. adds, that, as he has laid his invention before the
Society of Arts, he is anxious to prevent any misapprehension
arising on the siibject, and refers to the Directors of the Philhar-
monic Society in confirmation of his statement.

* There are, in the samo paper, Bome very interesting observations on The Gan-
der, (a musical instrument of Java), and the Jew's (or rather the Jaw's) Harp.

102

THE MUSICAL LIBRARY,

YORK MUSICAL FESTIVAL.

York, the second city in England, as regards rank, and with a
Minster that rivals the great metropolitan cathedral, was for
many years behind other places of less importance in the encou-
ragement of music. Till the year 1791, n9thing in the form of a
Musical Festival had ever been celebrated within the walls of what
was once the capital of the north, though London, Gloucester,
Hereford, and Worcester, had each set an example so early as the
commencement of the last century. But though York was tardy,
it compensated for its delay by the spirit it at last displayed. The
performances in 1791 were, it is true, on- a small scale, consisting
of about 100 voices and instruments, assembled in the choir.
However, in 1823 a grand Festival was got up, in which 450
performers were engaged. The musical energies of the county
were how roused, and two years after another meeting took place,
the vocal and instrumental band amounting to 614. The year
1828 witnessed a third Festival, the number of performers rather
exceeding that on the former occasion. And we have now to re-
cord the particulars of a fcmrth, celebrated on the 8th, 9th, 10th,
and. 11th of last September, in the Minster, and in the New
Music Hall.

It'id due to the finest and richest county in England first to
state, that long ago efforts were at several times made to have
musical performances in the Minster upon an extensive scale, for
the benefit of the four great charitable institutions of York, Hull,
Leeds, and Sheffield; but the dean, Markham, perseveringly re-
fused his consent, doubtless from a good, though an exceedingly
mistaken, motive. He feared, it is stated, that the fabric might
be injured by the erection of orchestra, galleries, &c., a most
absurd apprehension, the perfect groundlessness of which has been
satisfactorily proved, and ought never to have been entertained.
We hear much of the wisdom of our ancestors, but seldom are
told of their ignorance and prejudices; though there are few who
do not, in some way, feel the ill effects resulting from both.
Happily, the late guardian of the church was succeeded by one
whose mind was cast in a very different mould ; Dr. Cockoum,
the present dean^ sees through no mist, his views are liberal and
his judgment is unshackled: the moment he came into office the
plan of a grand meeting, the profits to be applied to the most
usefliiily benevolent purposes, was laid before him ; he adopted it,
became one of the most active in carrying it into effect, and was
the chief promoter of the Festivals celebrated in 1825, 1828, and
the present year.

In September, 1834, it was resolved that the meeting which now
engages our attention should take place ; a committee, consisting
of the Archbishop of York, the Dean, and others, was formed ; a
guarantee-fund of 10,000/. was provided ; and Mr. W. Knyvett
and Dr. Camidge were appointed conductors.

The performances were in the vast nave of the Minster; the
orchestra was built at the east end, on account of the organ ; gal-
leries were erected on each side of the nave, and at the third
column from the west end rose the patrons' gallery, from about
twelve feet from the ground to the lower part of the great window.
The floor was filled with cross benches. The tickets for the front
seats of the side galleries, and also for those on the floor, were
fifteen shillings; for the patrons' gallery, one guinea. The back
seats of the galleries were seven shillings ; and persons were ad-
mitted to the north transept, wliere they could hear well, but see
nothing, at five shillings each. In the centre of the patrons*
gallery a box was erected for the Duchess of Kent and the
Frincess Victoria, whose presence at this Festival shed a lustre
over it never before witnessed in York, and contributed as much
to the pecuniary success as to the splendour of the meeting.

PRINCIPAL VOCAL PERFORMERS.

Madlle. Giulietta Grisi, Mrs. Bishop, Miss Masson, Miss C.
Novello, Miss Kemble, and Mrs. Knyvett.
. Mr. Braham, Signors Lablache and Rubini, Messrs. Bennett,
Hawkins, Machin, and H. Phillips.

PRINCIPAL INSTRUMENTAL PERFORMERS.

Leaders ; for the Morning performances, Mr. F. Cramer >
for the Evening, Mr. Mori. Principal second Fiolin, Mr. Wag-
staff, and ninety-four other violins.

Violas, — Mr. Moralt, Mr. Daniels, and thirty-six others.
Violoncellos, — Mr. Lindley, Mr. Crouch, and twenty-two others.
Contra- Bases, — Sigr. Dragonetti, Sigr. Anfossi, and fourteen

others.

Flutes, — Mr. Nicholson, Mr. Card, and four others.
Clarinets, — Mr. Willman, Mr. Powell, and four others.
Oboes,— Mr. G. Cooke, Mr. Florke, and ten others.
Bassoons, — Mr. Mackintosh, Mr. Baumann, and ten others.
Horns, — Mr. Piatt, Mr. Rae, and ten others.
Trumpets, — Mr. Harper, Mr. Irwin, and six others.
TROBiBONES, — Mr. Smithies, Mr. Albrecht, and ten others.
Qphioleides, — Mr. Ponder, and two others.
HiBERNlCON, — Mr. Hull.
Serpents,i — Mr, Andre, and three others*
Drums, — Mr. Chipp, and Mr. Taylor.

The Chorus consisted of ninety Trebles, seventy Ahos, ninety
Tenors, and 1 04 Basses.

The whole band therefore comprised 622 persons, including
conductor and organist.

The magnificent Organ recently erected in the cathedral was
used on this occasion. It contains 4083 pipes, including two
double diapasons, one of wood, and one of metal. The diameter
of the former is 4 feet 5, by 2 feet 9 ; of the latter 20^^ inches *. ^

FIRST MORNING, TUESDAY, SEPT. 8.
Part I.
Coronation Aathem, ' Zadok the prieit * • #

Tu£ Creation « . • • a •

Part lU

Introduction and Choras, * Ye sons of Israel' « «

Recit. and Air, Mrs. Knyvett, < What though I trace * •

Chorui, * Hark! the Angel 1* . ^ . . «

Air, Sig. Lablache, < Sanctum et terribile ' • • •

Chorus, 'Immortal Lord' • . • •

Hymn, 'Mr. Braham' • • . • •

Chorus, * Gloria in Excelsis' . . • • •

Air, Madle. Grisi, < Gxatias agimus tibi* f • •

Chorus, *• When his loud voice' • • •

Air, Sig. Rubini, ' Davidis memento * « • •

Chorus, < Glory to God r . . • •

Aothem, Miss Kemble, ' O Magnify the Lord* • «

Credo ••...•••
Hymn ; Quartet and Choms, ^ Lord of Heaven ' ■ «

Solo and Chorus, Mrs. Bishop, * Am from the poirar ' •

Handbi*-
Haydn,

Handsl.

Handel.

Hhchbl.

Perqolux.

Handel.

Luther*

Peroolesi.

GuauBLiix.

Handel.

Beethoykn.

HanDbl*

Mozart*

Haydn.

HamdHw

The Coronation Anthem produced a splendid effect, and waa
most appropriate, this day being the anniversary of the coronatioa
of his present majesty.

TTie Creation was throughout ably performed : Mr. Phillips
opened it admirably. Mrs. Knyvett in ' The marvellous wort,*
Mr. Braham' In splendour bright,* and Miss C. Novello in ' On
mighty pens,* never were more successful. Mrs. Bishop sang
' With verdure clad' very sweetly, but her voice has not power
enough to fill so vast an area. The same deficiency was obvious
in Mr. Bennett; though no want of strength appeared in Mr.
Machines ' Now heaven in fullest glory shone.' Some of the
choruses did not go well ; the performers, however, must not be
held responsible for any irregularity that occurred either on this
or any subsequent occasion, the blame rests wholly with those
who determined the situation of the orchestra: This was so placed
that the instrumentalists were stationed exactly under the great
tower, the immense space of which swallowed up half their sounds^
and the portion that did enter the nave came reverberated,
utterly confounding the singers, who, bein| placed in advance,
and beyond the influence of the wide, lofty opening, were fre-
quently unconscious of what was passing behind them, and, left
as it were to themselves, hurried on, sometimes a quarter of a
bar before the band, to the great dismay of the conductor, who
gesticulated in vain, and flourished his baton with useless activity
and wasted vigour.

To the same cause is to be imputed some other failures, —
though they were few, — perceptible in the choruses on subsequent
mornings ; and we can only express our astonishment that in the
committee of managers no one was found who understood enough
of the nature of sound to foresee and prevent the occurrence of an
evil of such magnitude.

' Ye Sons of Israel, ' from Joshua, was well executed ; and Mrs.
Knyvett sang the air from Solomon with great taste. The chorus
by Himmel is an excellent specimen of a master who deserves to
be better known in this country. It was a great blunder to give
Pergolesi's air to Lablache, who did not at all enter into its
character. Phillips sings it dimely, and he sat by unemployed*
while this fine composition, so ably set to English words, (by the
learned author of HermeSjMr, Harris,) was all but sacrincedl

* We have been disBppointed of a more detailed account of tlui remarkable la-
ttmment, but expect to be enabled to give it in our nttt number.

THE MUSICAL LIBRARY.

103

' tmmoHal Lord/ the immortal chorus firom Deborah, was admi-
rable. After this Mr. Braham gave ' Luther's Hymn,' in lieu of
Mozart's quartet, ' Ave verum/ m which, for some reason unex-
plained, Madle. Grisi refused to take the part assigned to her. In
the Hymn the tower proved serviceable ; the effect of Braham's
voice, and of the accompanying trumpet, fell very little short of
the sublime. The chorus, ' Gloria in excelsis,' failed completely,
and, it was rumoured, from want of rehearsing. Madle. Grisi
seemed as little at home in Guglielmi's aria, as Lablache in
Pergolesi's : we pitied Willman ; though, certainly, whatever
pleasure the composition afforded, is attributable to his accom-
paniment. The title ' Davidis Memento * will puzzle the most
experienced readers : it is a Latin version of the English words,
* Lord, remember David,* which latter are set to an air in
Sosarme, * Rendi '1 sereno al ciglio.' Signor Rubini sang it with
more simplicity than we were prepared to expect ; but to have
given this air to him, while Braham was present, is one of the unac-
countable events of the Festival. Miss Kemble displayed much
feeling in Handel's anthem, and made a great impression on the
audience ; it, however, appeared to us that her power was rather
checked by a slight degree of nervousness. The credo, from
Mozart's first mass, was executed in a very perfect manner ; the
soli parts were charmingly sung. Haydn's German Hymn was
introduced, we presume, to please the many : the cognoscenti are

Sowing somewhat tired of hearing it. The splendid chorus from
ryden^s Ode went remarkably well ; Mrs. Bishop, in the diflScult
introductory parts, showed a depth of feeling that has rarely if
ever been surpassed. A murmur of approbation audibly followed
each of the solos as she delivered them.

FIRST EVENING, TUESDAY, SEPT. 8.
Act I.

Sinfonia Eroica • • • • • Bbstbovbn.

Aria, Sig. Rubini, ' Tu yedrai ' • • • • Bbllxnx.

Duetto, Madle. Grisi, and Sig. Lablache, ' Dunque io sono* • Rossini.

Song, Miss Postans, * Rose softly blooming '. ... Spohb.

Terzetto, Madle. Grisi, Signors Rubini and Lablache, '11 parli

Tamore* (Ofo//o) . • • . • Rossini*

Song, Mrs. Bishop, ' Lo ! here the gentle lark ' . • . Bishop.

Concertante, Messrs. Mori, Seymour, Tolbecque, and Blagrove . Maurbr.

Aria, Madle. Grisi, 'Deirasilodalla pace' • • I . Costa.

Song, Mr. Phillips, 'Ye mariners of England' • • • Nsukomx.

Sestello, < Alia bella Despinetta,' (Cbfi /m Tuite) • • Mobart.

Act IL

O^ertore, Midsummer-Night's Dream • • Hsndblbbohm.

Cantata, Mr. Braham, (Aieait) • • • • Pbpuscb.
Duetto, Signors Rubini and Lablache, ' 8e inclinassi a prender

moglie,' (Z»'//a/fa»a) • . • • Rossini.

Ballad, Mrs. Knyvett, « Anld Robin Gray ' . • Rev. W. Lbbvbs.

Aria, Sig. Lablache, 'Largo al factotum 'ri?A»^t>rr) • • Rossini.

Recit. ed Aria, Miss Masson, 'Non piii di fiori,' (Tiro) • • Moxart.

Aria, Sig. Rubini, 'Adelaide' . . • • Bbbtuoyxk.

Glee, 'When winds breathe soft' . • • • Wbbbb.

Aria, Madlle. Grisi, 'Stanca di piu combattere ' • • Mabliaki.

Finale, pverture (jQtiiUaumt TbH) . • • • Rossini.

Most of these pieces, performed by the very same persons, and
accompanied by nearly the same band, — ^for only a select number
attended the evening concerts, — have been mentioned so frequently
in our pages, that we could only reiterate former observations
were we to notice them particularly, and our readers might cry,
' Hold ! enough ! ' We therefore only say of them, generaUy, that
they were well executed. Miss Postan's song (from Azor and
Zemira) and Mrs. Bishop's, were justly applauded ; but the
Chevalier Neiikomm*s will never be ranked among his happy
e£forts. A repetition of Dr. Pepusch's cantata was called for, but
a very salutary rule having been promulgated by the committee,
forbidding encores, the call was not complied with. Sig. Rubini
sang Beethoven's Adelaide extremely well, for those who were
near the orchestra ; at a distance half his notes were inaudible.
Mr. Knyvett's accompaniment was a model of delicacy.

SECOND MORNING, WEDNESDAY, SEPT. 9.

The Messiah, performed in a complete state, with Mozart's
accompaniments, filled the Minster in every part this morning.
Arriving at the Cathedral a considerable time before the Oratorio
commenced, we were enabled to take a deliberate view of the
interior, and now bear testimony to the taste and judgment dis-
played in preparing it for the present occasion. Simplicity was
the leading feature, and out of this arose a grandeur of e£fect
superior to anything of the kind, in or out of this^ kingdom, we
had ever before seen.

Mr. Braham gave the opening, ' Comfort ye,' in his customary
emphatic, inimitable manner. In the characteristic air, 'Thou
shalt break them in pieces,' he was actually magnificent. Not
less admirable was Mr. Phillips in ' For behold darkness,' and
the succeeding air, ' The people that walked in darkness,' the
additional accompaniments to which are so ingeniously imagined,
so marvellously fine. The chorus, ' For unto us,' was splendid ;
it began forte, according to the composer's intention, and not in
tones of meagre, bashful, puling softness, as recently at West-
minster Abbey. Miss Postan's deep, rich voice told well in
' Behold a virgin,' but she is not so submissive to musical time as
she will prove when a little more experienced. Madlle. Grisi
sang * Rejoice greatly,' far better than we expected. The divi-
sions were, of course, executed with neatness not to be surpassed,
and she pronounced the words remarkably well, considering that
this charming Italian is wholly unacquainted with our language.
Nevertheless, it is to be wished that The Messiah were always
kept in the hands of native singers ; or, at least, that only foreign-
ers familiar with English, and initiated in the style of Handel,
should be allowed to take any part in it. But we must be more
brief. Miss Masson, and Mrs. Bishop, in ' He shall feed his
flock,' were very successful. Mr. Bennett would have done him«
self much credit in ' Thy rebuke,' had he been more natural. He
must be told, however unpalatable the truth, that there is some-
what too much of afiectatioQ in his manner. Miss Kemble's
nervousness rather diminished the eflFect she would otherwise
have produced in the lovely air ' How beautiful.'

Most chastely did Mrs. Knyvett deliver ' I know that my
Redeemer liveth ;' and Mr. Phillips, in ' The trumpet shall sound,'
was excellent. He had a worthy coadjutor in Harper, whose
trumpet is unrivalled. Miss Clara Novello charmed, her audi-
ence by the sweet air, ' If God be for us ;' and the final chorus,
• Worthy is the Lamb,' was not less perfect than the Hallelujah,
which had terminated the second act.

SECOND CONCERT, WTEDNESDAY, SEPT. 9.

Act. I.

Sinfonia, b flat . . • • •

Aria, Miss C. NoYello, ' Idole de ma vie' • •

Duei^ Madlle. Grisi and Sig. Rubini.

Song, Mr. Braham, * Softly sweet in Lydian measuies' •

Glee, ' Blow, thou winter wind * • • .

Aria, Sig. Lablache, ' Miei rampolli femminint ' •

Adagio and Rondo, Violin, Mr. Mori.

Terzetto, Sip;. Rnbini, Lablache, and Lablache, jun., ' Pappataci '

(^Vltahana in Algeri) ....

Cantata, Mr. Bennett, < The Soldier's Dream'
Polacca and Quartetto, Madlle. Ghrisi, Miss Masson, Sig. Rubini, and

Lablache, ' Son Vergin vessosa* (7 Puriiam) • .

Act II.
Sinfonia, C Minor. . . . • •

Song, Mrs. Bishop, ' Sweet bird V — Flute, Mr. Nicholson.
Glee, * Cold is Cadwallo's tongue* • . • •

Aria, Sig. Rubini, ' II mio tesoro.' (Don Gtovanm,')
Terzetto, Madlle. Grisi, Mrs. Bishop, and Mits Postans, ' Le faccio
un inchino.* (// Matrimonio Segreto.) • • •

Song, Mr. Machin, < The British Oak '

Aria, Madlle. Grisi, < Di placer ' (Xa Qaxza Ladru) • •

Vocal Finale, < Ciel ! che feci ?' (.Tancredi}

Mozart.
MBYsaBBBa*.

Hajvdkt..
Stbvbtts.
Rossini.

ROSSINL

Attwood.
Bbluiiz»

Bbbthotbt.
Hamdbl.

HORSLBT.
MOZABT. ^

CiMABOSA.

Nbukomic ,

ROSSIMI.

Rossmi.

The crowd that assembled this evening, and took their seats
early, totally excluded us from the grand room ; in one adjoining
we remained for a time, and very indistinctly heard some two or
three pieces, then in utter hopelessness departed. Several ladies
were admitted into the orchestra, and displaced as many perform-
ers, in consequence whereof Beethoven's symphony was omitted,
the instrumental force being too much reduced to attempt such a
work. Upwards of 2000 persons found places in the principal
saloon, and we verily believe that not another could have been
forced in. The Polacca, which we had heard dozens of times in
London, was vociferously encored, in spite of the remilation ; and
young Lablache, we are told, acquitted himself respectably,
though there seems little chance that he-will ever rival his parent.
The concert was too long, and it appears that the clock had
struck two ere the last carriage had driven from the door.

THIRD MORNING, THURSDAY, SEPT. 10.

Part I.

Four first movements of the Dettingen T« Denm • <

Air, ' Agnus Dei V Miss C. Novello • • •

Chorus, < O dap your hands together ' • . <

Duet, Madlle. Orisi and Signor Lablache, < Un fiume di pace ' «
MotettOy 'Nepulm' • « • •

Haitdbl.

MOSART.

Nbukomm.
Marcbllo«

MOBABT.

104

THE MUSICAL LIBRARY.

Air, Mr. Braham, ' O Dbeity '— Violoncello^ Mr. Lindley • Hamdsl.

Choruf, 'How excellent thy name* • • • Haicdbl.

Air, 'From mighty kings' • . • • Hamdst^I

Aria, Sig. Rubini, < A t« fra tanti a£fanni' • • Mot art.

A Selection from The Lait Judgment • • • Sfohr.

Bedt and Aria> * Deh I parlate I' Mra. Bishop • • • Cimabosa.

Chorus, 'SingiOhMvens' . • • ; • Hamdbl.

Past II.

Sanetm • • • • . • • Dr.CAMisoB.

Air, Miss Postaas, ' Lord, to thee * . • • Handbu

Chorus, ' O Lord, rehuke me not ' • . • • Moiart.

Aria, Sig. Ijablache, <Qual terribile vendetto !' . • Paisxbllo.

Recit. and Air, * Angels ever bright,' Mrs. Knyrett • • Handbl.

Motet, * Praise Jehovah I' • • . • . Mozart. ]

Air, < He layeth the beams,' Mr. Machin • • • • Handbl.

Chorus, ' Fixed in his everlasting seat * • • • Hanobl.

Air, Madlle. Grisi, * Let the bright Seraphim '^-Trumpet, Mr. Harper Handbl.

.Chorus, * Let their -celestial concerts' . • • • Handbl.

March, Joshua, and Chorus, ' Olory to God ! ' . • Handbu

Chorus, 'Hallelujah 1 to the Father' • • • Bbbtbotbn.

The reverberated sounds in the opening of the Te Deum were
rather favorable than otherwise, in all the other parts very preju-
dicial, and in one chorus they led to much confusion. Miss C.
Novello's ' Agnus Dei/ one of the most lovely of Mozart's sacred
airs, was gentle and exceedingly pleasing. The chorus of M.
Neiikomm is well designed, but more masterly in contrivance
than new in melody and combination ; the subdued parts are
elegant, and a portion of it is decidedly beautiful. The composer
conducted this in person, and his animation communicated itself
to all the performers, who did the work every possible justice. In
the duet of Marcello, Madlle. Grisi seemed quite a stranger to the
music> which produced no eflFect in consequence. Mozart's Motet
was very well performed. The air, ' O Liberty,' produced quite a
sensation, and the accompanist, Lindley, had a full share of the
murmurs of applause which followed it. ' How excellent,' and
the subsequent Hallelujah, were prodigiously grand. Mrs. Bishop
did as much for the celebrated air from Handel's Judas Maccahceus
as her physical power would admit ; it is a song in which Mrs.
Salmon, and afterwards Mrs. Wood, shone resplendently ; but
they possessed adequate vocal strength. We can discover no
great merit in the air from Mozart*s Davmde Penitente, a sacred
work on which he himself set no value. The tremor in Rubini's
voice was distressingly audible in this over-rated composition.
The selection from Spohr's Last Judgment was well performed
on the whole, but the transposition of the pieces, for which it is
impossible for us to account, converted the text into something
not unlike nonsense, and was very injurious to the effect of the
music. ' Deh ! parlate !' is infinitely beyond Mrs. Bishop's
strength; it requires a fullness, a vigour, and a force, which
nature has denied her.

Dr. Camidge's Sandua is a clever, charming composition.
The air from Theodora, ' Lord, to thee,' exactly calculated for
Miss Postan's voice, was highly successful. So was the aria of
Paisiello, in the hands of Lablache. Mr. Machin still stands in
need of refinement : a good voice is certainly a good thing, but
knowledge and taste are better things. Madlle. Grisi was again
* ill at ease' in one of Handel's bravuras, though, all matters
taken into the calculation, she executed it well ; but it was foreign
to her. The cadenza between the singer and the trumpeter, was
not only superfluous, it was absolutely ridiculous. When will
mich monstrosities be repudiated ?

The performance was much too long, and by the omission of
an air two chorusses came together at the end, with anything but
good effect.

THIRD CONCERT, THURSDAY, SEPT. 10.

AotI.

Sinfonia Pastorale ••••.•

-Aria, Sigr. Lablache, * La Vendetta ' . . •

<3^ied, * The Rose of the Valley ' (harmonieed 6y) .

Aria, Madlle. Griai, * Tanti affetti' . • . •

', Cantata, *Jfarf Tom • Mr. Braham • • . .

' Septette foi Wind Inttruments ....

- New SdTig, Mrs. Knyvett, * Come away to the sands '
Vl>«ilto, Madlle. Grisi and Sigr. Lablache, * O guardati *
Seitetto, * Dove Son' {Con /an tutte) . . . .

Act IL

Overture, Oberon . • # • • •

Aria, Si^r. Rubini, < I tuoi frequeuti pnlpiti' . •
Song, Miss Kemble, The Flvwer-giri of Pompeii . •

Song, Mr. PhilUp^, Wuman • • • • ^ •

Terzetto, Madlle. Grisi, Sii^. Lablache, and Lablache, jun., * O
Nume benefico' (£a Qaxxa Ladra) . • • •

Aiiai Sigr. Rttbini, * Vivi tu ' {Mma Botem^) • • •

BsETnOTEN.

Mozart.
W. Knyvbtt.
Rossini.

PUBCBLL.

Nbukomu.
Halve.
Onecco.
Mozart.

Weber.
Pacini.
Kkllnbr.
Phillifs.

Rossini.
DonxzvjTl*

Glee, 'When wearied wretches' •' • '• • Btsaop.

Aria, ' Sigr. Lablache, ' II mio piano* {La Gaxxa Ladra) • Rossini.

Aria, Madlle. Grisi, ' Come per me seteno* • • • BblliKi.

Finale, < God save the King.*

The Pastoral symphony delighted the audience^ some of whom
it was evident had never before heard it ; yet, such is the ad-
vanced state of music in the provinces^ all entered into its design
and felt its beauties. Lablache sang the revenge-son^ from
Figaro admirably, though he cannot look the sentiments he here
utters. Madlle. Grisi was in her own sphere, and charming in
' Tanti affetti/ Mr. Braham judiciously substituted Mad Tom
for an Epicedium, which had been announced. And Neiikomm's
septet, written for the Philharmonic concerts, was changed for a
notturno by the same, in which his song, ' The Sea,' is the subject.
The new song was much applauded, whether deservedly or not.
Gnecco^s comic duet, admirably executed, diverted the company
exceedingly. OherorCs overture went very well ; not quite so per-
fectly as at the Philharmonic, it must be allowed. The terzetto
was charming ; but as for the eternal ' Vivi tu/ Ivanoff sings it far
better than Kubini, in our opinion. Nevertheless, it was much
applauded. The glee was performed with the greatest nicety :
and Sigr. Lablache and Madlle. Grisi sang their arias in a most
perfect manner.

FOURTH MORNING, FRIDAY, SEPT. 11.

Part L;

Overture, Etiher .•••••• Hakdbl.

Double Chorus, ' Your hsrps and cymbals sound ' {Solomon) • Hanobi..

Recit. and Air, ' Deeper and deeper still, ' Mr. Braham • • Handel.

Air, * Let the bright Seraphim,' Madlle. Grisi . . • Handel.

Anthem, * Siog un*o God* •.•••• Ckopt.

Aria, * Finche liolvo,' Sigr. Lablache . . • • Hasse.

Duet, Madlle. Grisi and Mrs. Knyvett, < Qual anelante * • • Marcello.

Chorus, < Rex tremendae,* and Quartet, ' Benedictus ' • • Mozart.

Aria, ' Domine Deus * ....•• Mozabt«

Chorus, ^ Praise him in Judah' . • •• . • Mozart.

Aria, ' Laudate Dominum,' Madlle. Grisi, (Organ obligato) . • Mozart.

Trio, ' The Lord will comfort Zion,* and Chorus, * O sing unto

Jehovah!* . . . . • • Hatdk*

Part II.

Hahdbl*

Tub Oratorio op Israel nr Egypt

The double and diflBcult chorus from Solomon was well exe-
cuted, making allowances for its not being so well known as many
others by the same composer. ' Deeper and deeper still' was as
fine, as impressive as ever : the air, ' Waft her. Angels,' which
ought never to follow the recitative without the intervening chorus
and song, is now rather too high for Mr. Braham^s voice. So
much was Madlle. Grisi admiral the day previous in ' Let the
bright Seraphim/ that it was now repeated. De gustibus, &c.
Croft's anthem very much pleased us, the parts sotto voce espe-
cially. 'J'he almost unknown but splendid aria of Hasse was ad-
mirably sung. The duet did not succeed so well : the singers
were too far apart from the band ; and Madlle* Grisi does not enter
into the spirit of such very superior music, llie sublime chorus
and exquisite quartet from Mozart's Requiem were perfect. The
aria, ' Laudate Dominum,' is one of the composer's least meri-
torious works ; it however afforded Dr. Camidge a good oppor-
tunity of displaying the powers of the magnificent new organ,
which he did in a very skilful manner.

The opening chorus of Handel's stupendous oratorio was, as
at the Westminster Abbey Festival, taken too quick, but it was ac-
curately performed, so far as the instruments and voices were con-
cerned. Indeed the whole of the choruses, with an exception or
two, were admirably executed; though the evil of which we at
first complained — the distance of the band from the voices, and
the confusion arising from the former having been placed under
the lantern-tower — produced no little mischief, mischief which no
skill or attention on the part of the performers could remed)'.
Some omissions took place, for the morning's performance was,
even with these curtailments, much too long. The introduction
of ' Holy, holy!' and 'Return, O God of hosts!' airs quite
foreign to the work, rendered it necessary to omit compositions
that it was little short of sacrilege to reject. The lovely air
* Thou didst blow,' was not assigned to the right singer. The
beautiful bassoon accompaniment to this will always have charms
for the true connoisseur. The duet, ' The Lord is a man of war,*
was everything that could be wished ; but ' Thou in thy mercy,*
a lovely composition, understood but by real judges, was not sung
in a manner to recommend it to notice, though Miss Masson did
everything in her power to support it. Madlle. Grisi, in the

THE MUSICAL LIBRARY.

105

giving-out of * The Lord shall reign/ — ' Sing ye to the Lord/— ^
displayed her voice in really a ' glorious' manner. The whole of
the subsequent chorus was quite perfect^ and made a splendid
winding-up to the fourth truly grand Yorkshire Festival,

The following is a general statement of the numbers who at-
tended the different performances, and the two balls.

Sept. 7.

9.
10.
11.

Minster.

3,377
4,025
3,019
3,383

Concert.

775

1,899

775

Ball.

635

2,500

Grand total, 21,270. The receipts about 16,000?., of which
rather more than half will go to defray the expenses. The re-
mainder is to be divided into two parts, one moiety to be applied
to the fiind for repairing York Minster, the other to be divided
between the four great Yorkshire charities^ namely, the hospitals
of York, Hull, Leeds, and Sheffield.

APOLOGUE OP JEAN-PAUL RICHTER.

One day the guardian genius of all who possess strong sensibility
thus address^ Jupiter : — * Father divine ! bestow on thy poor
human creatures a language more expressive than any they now
possess, for they have only words signifying how they suffer, how
they enjoy, and how they love/ ' Have I not given them tears ?'
replied the deity, — 'tears of pleasure, of pain, and the softer ones
that flow from the tender passion?' The genius answered, —
< O, god of men ! tears do not sufficiently speak the overflowings
of the heart ; give, I thee supplicate, to man a language that can
more powerfully paint the languishing and empassioned wishes of
a susceptible soul, — the recollections, so delightful, of infancy, —
the soft dreams of youth^ and the hopes of another life, which
mature age indulges while contemplating the last rays of the sun
as they sink in the ocean ; — ^give them, father of all ! a new lan-
guage of the heart.' At this moment the celestial harmonies of
3ie spheres announced to Jupiter the approach of the Muse of
Song. To her the god immediately made a sign, and thus
uttered his behests : — ' Descend on earth, O Muse, and teach
mankind thy language.' And the Muse of Song descended to
earth, taught us her accents, and from that time the heart of man
has been able to speak.

NECROLOGY.

On the 23rd of last month died at Pateau, near Paris, Signor
Vincenzo Bellini, composer of // Pirata, La Straniera, La Son-
nambulaf I Puritani, and three or four more operas. II Pirata
was his earliest and his best work, and the first given in this
country; but so ill got up^ with a prima-donna so incapable
of sustaining the principal part, and in other respects so inju-
riously performed, that its success was of a very disputable kind.
His Straniera failed entirely : it can boast but of two pieces pos-
sessing anything like decided merit. He was more fortunate in
London with his Sonnamhula, though the acting recommended it
more than the music. The success at the King's Theatre of his
Puritani cannot be disputed, but as we have said in our notice of
that work, it will neither be listened to nor heard of three years
hence. A lively polacca, sung in a very fascinating manner by a
favourite performer, whose personal and professional charms are
equally great and commanding, gave a character to the whole
work, and to this its good fortune in London must be mainly
attributed.

We are willing to believe that had Signor Bellini not been thus
cut off in almost his youth, his ambition might have led him to
attempt something that would have given him a chance of being
heard of in future times, for the Pirati exhibits traits of consider-
able genius. Unhappily the prevailing taste in Italian music has
lately been at so low an ebb, that composers have had no motive
for exertion ; the most contemptible, if new, or called so, has suc-
ceeded as well as the best that a Mozart or a Beethoven, if living,
could have produced — probably much better. Hence the most
powerful stimulus has been wanting, — ^the prospect of future fame ;

and one object that a professioijal man must have in view, namely,
pecuniary compensation, has been attained, with so little trouble,
that any great effort could not reasonably have been expected.
Labour is not diversion, and man is naturally an idle animal.

Signor Bellini has for some time past suffered from pulmonic
disease ; to this his death is alone attributable, and not to any
extraordinary devotion to composition, as the French journals, and
ours after them, have stated. He was a gentlemanlike, amiable
man, much esteemed by a large and respectable circle of acquaint-
ance, by whom his loss will be much felt.

REVIEW.

Vocal Miscellany, by Thomas Moore, Esq. The Music selected
and composed by Henry R. Bishop and Mr. Moore. No. 1., 4to.
(Power).

We are rejoiced to meet Mr. Moore in any form ; in whatever Bhape
he appears, lyrical, satirical, or historicaJ. he either charms or instructs,
and frequently does both at the same time. The present publication^
however, is not for the purpose of conveying information ; to add to that
stock of elegant amusement which has already grown so large under his
hands, is, we presume, the object of the volume before us, and he has not
been less successful than heretofore in the attainment of it But Mr.
Bishop is entitled to some share of this praise ; two of the compositions
have his name affixed to them, and it is to be supposed that the accom-
paniments of all have at least been subjected to his revision.

This work contains five songs and a trio. No. 1, ' I have a garden of
my own,' which is stated to be * a child's song, from a masque,' is by
Mr. Bishop, and a very sweet air he has given us, possessing the rare
charm of novelty : it really may be set down as an original melody.
But why will this gentleman compel us to qualify our praise? — why.is
he so regardless of prosody ? He surely must now have lesurned that
nineteen can judge or this, for one that is able to form an opinion of the
music separately considered. In this the conjunction and is no less
than five times made emphatic, by setting it to the first note in the bar^
— ^to the most accented note — though the poet in no one instance intends
it to be a marked word.

No. 2, • The halcyon hangs o'er ocean,* is a very charming Ger-
man air, and new also in character : the accompaniment is simple, and
quite appropriate. We cannot make out the reason why the composer's
name should not have been given ; if known, it is very unjust to conceal
it. At all events, the original words can have been no secret to the adapr
tor, and these would have probably led to the discovery of hjpi to whomt
the merit of the music belongs.

The poetry of this is almost painfully pathetic : it is in Mr. Moore's
best serious style.

The halcyon hangs o'er ocean,

The sea-lark skims the brine ;
This bright world's all in motion.

No heart seems sad but mine.

II.

To walk through sun- bright places

With heart all cold the While;
To look in smiling faces

When we no more can smile.

III.

To feel, while earth and heaven

Around thee shine with bliss,
To thee no light is given, —

Oh, what a doom is this !

No. 3, ' The world was hush'd,' the music by the poet himself, is
remarkably graceful, and will please very generally, though we cannot
add that the piirases and cadences are strongly characterised by origi-
nality. A strongly-marked rhythm, however, and good poetry pro-
perly expressed and accentuated, always prove agreeable.

No. 4, ' The Two Loves,' is a composition full of elegance, by Mr.
Bishop. The story is of heaven-born and earth-born love. The maid^
when asked which she would adore, replies —

' Oh ask not which — we'll worship both.*

' Til' extremes of each thus taught to shun,
With hearts and souls between them given.

When weary of this earth with one.
We'll with the other wing to heaven.'

She is right, for thus the nymph has more strings to her bow than ever
the gentle god himself could boast.

No. 5, * Steal gently, oh I my dear,' is a coinic trio, for soprano,

106

THE MUSICAL LIBRARY.

enor, and base ; the mauc * Italian/ It is natoraU easy, and pretty,
and well oalculated for social purposes.

No. (>, ' The legend of Puck the fairy,' the composer * anonymous,'
is in what may be called the narrative style of melody, — the music is,
both air and accompaniment, wholly subservient to the poetry ; thus the
story is told without any repetition of words or suspension of interest
by impertinent roulades and other decorations. The whole, however, is
very lively, and the music, if not striking, is, in every sense of the word,
appropriate.

This volume promises to become popular ; the poetry is such as was
to be expected from such a pen, and the music is in all respects easy,
but the greater part of it far from common.

Grand Quintet in b Jlaty as a Piano Forte Duet ; composed by L.
Von Beethoven (Chappcll.)

Hie famous quintet, op. 16, for piano^forte, oboe, clarionet, bassoon,
and horn, is here arranged in a most agreeable and effective form, and
thus brought home to almost every family ; for how few there are that
cannot get up a piano-forte duet requiring moderate powers of execu-
tion ! This is one of the chef s-doeuvre of Beethoven, and being among
Us earlier works, is more melodious and less recherchee than many of
his later productions. Let those who wish to acquire a true taste for
music, a taste, that shall endure and render the art a source of permanent
enjoyment, a means of social happiness, to the end of life, study such
compositions as this : in harmony like the present, * No crude surfeit
reigns,' it is indeed, ' a perpetual feast of nectar'd feasts ;' it is independ-
ent of fashion, time cannot deform it, but must add the charma of
association to its inherent and unfading beauties.

1. Spanish Song, Mariquita, composed for one or two voices, by
MAnAME de Laborde Bussoni. (Dean.)

2. Romance. ^Reviendras tu,' composed and published as the
preceding.

3. Duet. ' Music from shore,' the Words by Mrs. Hbmans, composed
by John Lodge, Esq. (Chappcll.)

4. Canzonet, * Thy name shall bloom,' for a treble or tenor voice, the
words, translated from Goethe, composed by C. Guynbmer.
(Novella)

No. 1 is certainly a' very favourite Spanish air, but whether composed
or only arranged by the accomplished lady whose name it bears, the am-
biffuity of the title-page prevents our saying. It is printed with Eng^
lisn as well as Spanish words, and we must admit that the jatter are more
suitable to the music than the English version.

No. 2 is set to French words, and has both a guitar and piano-forte
accompaniment. The air is full of grace, and, with the exception of a
clashing note in the fiftli bar, the whole is exceedingly pleasing.

In No. 3, Mr. Lodge has accomplished a task of no ordinary difficulty,
by drawing considerable effect out of very simple materials. Nothing
can be more easy than the present duet, and we do not often meet with
BO much unmixed sweetness of melody ; yet there are a few bars of imi-
tation — we use the word in its technical sense — which discover the mu-
sician, in spite of his veil of simplicity. Ex pede, &c. The saying
however is somewhat musty.

No. 4 is a clever composition ; the general design is good, and the
execution displays no little knowledge of effect. With an exception or
two the words are well accented, and a superior taste is evinced in many
parts of the canzonet, a composition well entitled to notice. Indeed it
has been performed by some very favourite public singers, we therefore
conclude that it is not unknown, though we nave not till now been able
to turn our attention to it.

FOREIGN MUSICAL REPORT.

BERLIN.

Hie beginning of August was rendered remarkable by two revivals from
oblivion ; the first was Cherubini's Lodoiska^ which was performed at
the Theatre Royal ; the second, Mozart's Tito, acted at the Konigstadt.
Both were as welcome apparitions as ever were seen : we only wished
that a few more such spirits had been raised, e, g., M ozart*s IdomeneOy
Cherubini's Faniska, and two or three of Spohr's. The performance of
Lodoiska might be called excellent, considering all circumstances ; the
zeal displayed in getting it up was praiseworthy in the extreme, though
the means were hardly adequate to the accomplishment. M, Hein-
rich, for instance, made a wretched business of his part, while the or-
chestra was admirable, great (credit being due to the direction of M.
KapeUmeMtw Scbieidtr. This opwa gave AL SefaafcTi from Ham*

burg, an opportunity of diskingoishing himself as a dechimatofy singer*
and M. Bercht, who was known only as an actor, an opportunity of
exhibiting his vocal powers for the first time. Had nature been mpra
kind, M. Bercht would have been a very good singer ; he is, under all
circumstances, a very useful one.

The King of Prussia's birth-day (the 4th of August) was solemnized
by a musical performance in the Vocal Academy, beginning with a SaJ^
vumfac regem^ and ending with a Te Detan by Graun. We have heiurd
from other quarters that this anniversary has been solemnized elsewhere
by musical performances of a higher character than our own. At
Prenzlau, public divine service in the church was followed by a musical
festival given by the Union (this, by the way, is formed on the principle
of the grand MSlrkisch Union), which met with unanimous and deserved
applause from the audience. The Musical Union at Miihlhausen in
Tharingen likewise solemnized the day, as weH as the Sollersch Union
at Erfurt. Reinerz also gave a concert for the benefit of the poor.

VIENNA.

The Italians have concluded their engagement at the Hofopfem
Theatre. Since Germans have sung there (though a truly classical
singer, M. Wild, is one of them) and the warm weather has set in, we
have had empty houses.

M. Bieberhof, from Linz, has been performing at the Josephstadt
Theatre (which is always offering something new to the public in the
shape of an opera, a play, or an actor), and has, notwithstanding his
youth, placed himself in an important light. He knows how to give
his tones that colouring which alone produces effect. He does not de*
serve to be mentioned otherwise than in terms of praise.

M. Strauss has composed some new waltzes, and performed them m
public ; these have met with the most general applause ; we think more
than they deserved. The gentleman seems to have bound to his owa
inclinations the fickle goddess, FashioUy and to hold the public favour
at his sovereign will. M. Lanner has also met with extraordinary ap«
plause by his new compositions, and with justice. The most effective
are his Jubelwalzer, in which there is something more deep than w^
find in most dancing-music.

The opera company of the Josephstadt Theatre has been performing
with much applause at Baden, where the theatre is rented by the same
person.

M. Wenzel Mfiller, kapellmeister of the private theatre in the Leo-
poldstadt, has died of a nervous fever. He nas served half a century at
his post, and caused the public many happy hours by his melodious and
popular compositions. Peace to his ashes ! his songs will be heard aa
long as humour is a characteristic of the Viennese.

On the SI St of July, in the hall of the Musical Union, the prizes were
solemnly bestowed on the scholars of the Conservatorium. The presi-
dent of the company, Prinz von Lobkowitz, gave them in person to the
most worthy of the scholars, who had first performed in an Accademia
given for the occasion, and thus afforded an opportunity of judging
their merits. A speech, delivered by the director of the institution, was
fine and suitable to its purpose, though somewhat lengthy.

BRESLAU.

Mad. Schroeder-Devrient concluded her performances here on the 2nd
of July, and excited among the friends of art an increased enthu*
siasm. She has played Romeo (six times), Euryanthe (three times),
Fidelio (three times), Donna Anna, Emmeline in the Swiss Famiiyt
Rebecca in the Templar and La Juive^ Amazili in Cortezy Julia in the
Vestal. On one evening she played Donna Anna and Emmeline in
the first acts of Don Juan and the Swiss Family, and Rosina in the
first act of the Barber of Seville, Though the price of admission was
doubled and trebled, though the opera-house had scarcely ever had so
scanty a season, it was overflowing every night she performed. After hec
last appearance (in iZomeo), a musical chorus conducted her carriage
by torch-light to her own abode, before which a second chorus awaited
her. The Musical Union serenaded her, surrounded by a countless
multitude. Connoisseurs have declared that Mad. Schroeder Devrient
has gained both in strength and compass of voice. The size of
our little theatre has been particularly favourable to a close observation
of her animated style of acting. Never have effects similar to those pro-
duced by this lady been observed at our opera-house. What German
actress is to be compared with her? What artiste so uses her art tb
express the feelings of her soul ? With a sublime animation she giveft
a picture ever new, and, by the force of her own enthusiasm, carries the
audience irresistibly along. She is at once a model for the painter, the
poet, the sculptor, the actor, the singer, and the musician ; since, beskies
the truth of her expression, besides the life of her singing, the dispo-
sition of her firame, every motion, every glance, every action is, as it
were, melted into chissical beauty ; and setting aside her singing and
speaking, her dumb show must be regarded as unrivalled.

FRANKFORT SUR-LA-MAINE.
M. Dettmer, the base singer from Cassel, played, on the 12th of July;
the part of Caspar in Der Freisek&tXt with applanse. On the 15t]i, If.
Haiunami, a vtoliaisl from Paris, astonished all the uouuuisscws bjr Ua

THE BtUSICAL LIBRARY.

107

wonderful execution. We may Bafely say thatt except Fugantiu, we never
heard his equal. The prima donna, Mad. Masi, sang once with great
and deserved applause ; why she sang but once is a problem yet to be
solved. The songstress, Matys, has concluded her parts here widi
Camilla (Zampa). M. Schmezer took the part of Zampa with success.
Mdlle. Henriette Carl has played Amenaide and Agatha {Freischuiz).

CASSEL.

We offer our readers an historical account of our proceedings for some
time past, instead of a mere narrative of the affairs of the day. We
have rarely given a circumstantial account of our proceedings, and hence
this sketch may not prove uninteresting.

Our opera has been pursuing its troubled track for about two years,
and really begins to give some tokens of improvement. Our Prince is
a passionate lover and encourager of music ; our public has the same
taste ; our directors are persons of discernment ; and surely we have a
right to hope for a prosperous future. New operas have been produced
among us as early as possible, not waiting for the time when other
theaties had worn them out. We are inhabitants of one of the greatest
midland towns of Germany, and wish not to be in musical knowledge
lower than those who are inferior to us in importance.

Besides the current operas of Freischutz, La Muetie, Joseph^ Hans
Heiling^ The Templar j John of Paris y Barber of Seville^ Fidelio, Der
Maurer (the Mason), Zampa^ Don Juan, Faust, The Bride, La Dame
Blanche^ Oberon, &c., we have had Camilla, the Vestal, and Joconda,
The now deceased Mad. Rottmaier (whose maiden name was Lamp-
xnann) sang Camilla; her beautiful, melodious voice, will not easily be
isupplied; with her last breath, the means of enjoying Mozart's music also
perished. Her Countess in Figaro wjU not soon be forgotten. She
died in May. Mdlle. Schmale performed the page Cherubino, as a
first effort, and met with great encouragement. Licinius in the Vestal
was a part selected by M. Schmidt, from Brunswick ; he has great
merit, but could not obliterate the recollection of our former excellent
tenors. He afterwards appeared as the Mason, and has now been up-
wards of a year a member of our opera ; he has the best tenor parts
given him, and seems to take pains, with what success the future must
determine. The representation of Joconda gave satisfaction on the
whole. Of the very modern operas, Des Adlers Horst (the Eagles'
Eyry) has pleased the most, and has often been repeated. Mdlle.
Meiselbach as Rose, M. Bimbaum as Vater Renner, M. F6ppel as
Richard, distinguished themselves ; M. Dams sang excellently as ilnton,
M. Schmidt respectably as Cassidn ; Mad. Rottmaier was Marie, and
Mdlle. Furth Veronica. Some scenes in Bellini's Romeo and Juliet
have excited quite a furor, though the opera has but partially pleased.
Mdlle. Meiselbach and Mdlle. Pistor have been brilliantly successful as
the hero and heroine. Another novelty was Herold's Marie, He who
has heard Zampa will not much regard this modest little opera, and yet
there are some fine vocal pieces, which will not fail to make an im-
pression on the public. M. Dettmer was the Baron, Mdlle. Fdrth was the
Baroness. Mdlle. Pistor, as Emilie, seemed to confound the ncuve with
the sentimental, and thus failed in some of her effects ; on the whole,
however, she was good. M. Dams, as Adolph, sang a song with much
applause ; while M. Schmidt, as Heinrich, in a duet with Mdlle. Pistor,
set all hands in motion. M. Birnbaum, as George^ was good; M.
Foppel, as Lucas, admirable ; and Mdlle. Greenberg, as Susanne, the
same as ever. This opera has also been several times repeated. Bellini's
opera of La Straniera went off but indifferently, notwithstanding the
exertions of Mdlle. Pistor, as Adelaide, to please both composer and
public, and she certainly met with the applause she deserved. On the
14th of June we had tlie Seraglio. M. Dams, as Belmont, sang some
songs in a style truly excellent. Mdlle. Pistor did her best as Con-
stance, though this part ought to be filled by a bravura singer of the
first rank. Neither Mad. Christiany as Blonde, nor M. Granfield as
Pedrillo, gained applause by singing or acting; M. Dettmer, as Osmin,
met with the warmest approbation.

The members of the Electoral Capella gave three winter concerts for
the benefit of their pension fund, which were, as usual, but moderately
attended. We shall, however, give their proceedings.

At the first concert, which took place on the 13th of November, 1834;
were performed : the overture to Shakspeare's Midsummer NigkPs
Dream. It pleased much, and has since been repeated by desire. The
connoisseurs pronounced it an interesting piece, and recognised the pe-
culiar stirring after Beethoven's originality and bizarrerie : — ^A scena
and aria by Spohr, an excellent composition, though but indifferently
sung by Madlle. Pistor: — A piano*forte concerto, composed and played
by M. Adolph Hesse, from Breslau ; this was well received, as also his
third symphony, and a rondo-capriccioso for the piano-forte alone.
These pieces served to display M. Hesse as an industrious, talented, and
correct composer, who has formed himself on Sophr's model. A song
by Marschner, sung by M. Schmidt ; badly selected. A violin concerto
bv Maurer, played by our excellent solo-player Weile, with great ap-
plause. The first finale from Spohr's Zemira and Axor, the female
pans sung by Fiirth, Pistor, and Meisselbach ; the male parts by Schmidt
Jind Fuppei, concluded this concert, which was certainly too long.
Second concert, 11th of December. An overture by Mendelssohn ;

an mna firom Sargtnes, sung by Madlle. Pistor; a eoneertante by
Spdir:— The same composer's fourth symphony, which was listened to
with great interest. A rondo for the violoncello, composed by Dotzauer,
and excellently played by his scm. The concert ended with a quintet
firom Cost fan tutii.

After a considerable interval, we had our last concert, which did not

take place till the 19th of March, 1835. The pieces were as follow :

An overture by Onslow ; an aria from Zemira and Azor^ sung by
Madlle. Pistor ; a concertino for the clarionet by I wan MuUer, splen-
didly played by Bauder; a trio from Harold's Duel,* sung by Madlle.
Pistor, Md. Rottmaier, and M. Schmidt. Kalliwoda's third symphony
for the first time. A potpourri by Spohr, on Themes from Jessonda^
for violin and violoncello, played by the composer and M. Hasemaun.
It was an especial treat to hear these two masters of their instruments.
A long continuous applause rewarded their exertions. No doubt our
readers will say that among all these pieces there is not one by
Beethoven. We acknowledge the fact, although with a sigh.

The two musical unions (the Liedertafel and Eunomia), performed a
concert on the 27th of March for the benefit of the poor, which was well
attended, and gave universal satisfaction. The pieces introduced were:
Spontini's overture to Olympia,not heard before, and admirably executed:
a male chorus from Cherubini's Elisa; a trumpet concertino by Ferling,
played by Bettenhausen. Wielinger Balk, a male chorus, with orchestral
accompaniment, the words by Tegner, the music by Panny, very good.
Der Rhein (the Rhine), a national song by Panny, excellent ; a eon-
eertante for two clarionets by Krommer, played by Bauth and Heister-
hagen with applause ; Der Herbst am Rhein (Autumn on the Rhine),
a male chorus, with grand orchestra by Panny, pleased much ; so did a
war song by the same composer. On the whole this was a very de«
lightful evening: first on account of the many novelties performed,
secondly on account Jof the astonishment produced by their being so
well played by Dilettanti,

We conclude this long report with the honourable mention of Spohr's
new oratorio Des Heilands letzte Stunden (the Saints' last hours),
played on (rood Friday and at Whitsuntide. This served to show that
Germany still possesses composers of church music, who are no dis-
grace to their predecessors. The solo parts were filled partly by mem-
bers of our vocal Union, among whom Madlle. Sophie Pfeifer and M.
Schmeiz (a powerful tenor), deserve particular notice : partly by mem-
bers of our opera, viz. ; Madlle. Pistor, whose voice is not well adapted
for a church; M.M. Foppel (excellent), Schmidt, Dettmer, Birnbaum^
and Hofmann. We ought to give our heartiest thanks to the con-
ductors of both male and female chorusses ; for had it not been fox
them, how could we have enjoyed this musical treat ?

PRAGUE. "

Auber's Oath, or the Coiner, was new with us, and we expected a
pleasant evening. But we must confess that this opera, with all its
whimsical and bizarre passages, reminds us only of the worst of Auber'a
productions; indeed, we think it a total failure, and can account
for it by the composer's rapidity in writing. The overture (the most inef-
fective we ever heard by Auber), has it monstrous propensity to run
into that to Fra Diavolo ; it is worthy of its opera. Madlle. Lutzer
distinguished herself much by her flexibility of voice, and her remarkable
certainty in overcoming difficulties. M. Erminger (tenor) is no singer.
An aria, with chorus by Conrad Kreutzer, introduced for M. POck^
met with approbation. At the conclusion of the opeia, the public gave
the usual sign of dissatisfaction— we mean — ^a hiss !

The Fasten concerten, which were deferred by the death of the Em-
peror, opened with a musical and declamatory Accademia. The music
was not well selected— even our excellent oboist, Prof. Pauer, did not
choose happily.

At M. Krai's concert we heard, among other things, a cavatina from
the opera Ugo, Conte di Parigi, by Donizetti, which is unquestionably
one of the best things by its composer, as well as of modem times. U
was admirably sung by Madlle. Lutaer, and the tumultuous applause she
received was no more than just

The first musical Accademia given by the musical Conservaioriumf
took place at noon. Spohr's Weihe der Tone (Consecration of sound),
formed the prologue. Franz Ramesch played on the oboe an adagio
and rondo by Winter (on a Theme from Vogler's Castor and Pollux) ;
he is not without the faults of a beginner ; but when we consider that
he has learnt but four years, and that this was his first appearance in
public, we feel justified in thinking that he will prove a useful oboist.
Kreuzer's variations for two bugles, on *< God save the King," was
played as a first attemnt by Anthon Withek and Joseph Pilat, scholars
of the chief class ; for the success of this we at first felt rather uneasy, as
it was a bold effort to introduce to the public, as concertists, scholars who
have studied but a year. However, the force and precision displayed by '
these boys excited the greatest wonder, and there is every reason to pro-
phecy for them a brilliant future. An introduction and rondo for' two
violins bv Hennmg,is a yerj every^day composition ; it was, to be sure^
neatly played by the scholars Franz Wirth and Joseph Pechar, yet

• Zweikampt^ We piefnme the iV^ okv Cleret is meant«-£iH

108

THE MUSICAL LIBRARY.

without fire and expressioi). — Afadlle. Anna Balzer sung an air from an
opera here unknown : Donna Caritea hy Mercadante ; and Madlles.
Wilhelmina Proksch, and Marie Mtlller, a duet from an opera alao a
stranger — Rossini's Bianca e Faliero. Madlle. Proksch has a fine
alto voice, but there is a coldness about her which casts her better qua-
lities into the shade. Lind painter's overture to Goethe's Faust con-
cluded the whole. Lind painter is unquestionably one of the best over-
ture-composers of the day, and there is much grandeur about the work
in question ; yet he lacks clearness, and too often falls into a sort of
noisy confusion.

On the following day M. Cipriano Romberg (first violoncellist to the
Emperor of Russia), gave a musico-declamatorial Accademia. The
name of Romberg had raised gieai expectations : every one knows
Cipriano's uncle ; his father Andreas has also left behind him an honor-
able name. Hence, we say much was expected from him, and we
rejoice that none was disappointed. It seems as if musical excellence
is an inheritance in the Romberg family.

DRESDEN.

The celebrated composer, M. Lowe from Stettin, chiefly known to the
public by his ballads, gave on the 24th of July an evening concert,
which, with the exception of a trio for piano-forte, violin, and violon-
cello, was purely vocal, supported by the piano-forte. Summer is not
favourable to concerts, and this was not sufficiently announced to the
public ; hence the hall was not so well attended as the great name of
the composer led us to expect. He began with a fantasia on the
piano, in which he distinguished himself as a skilful player, as he also
did in tlie trio, which, however, was rather too long. The best things,
and indeed they were quite unique in their way, were his ballads, of which
the first three were of a gloomy cast, and differ generally from the usual
style of ballad composition. Most composers of this sort of music
make the harmony altogether subservient to the melody ; M. Lowe
makes the melody subservient to the harmony. The word» are sung
in a declamatory style, not a syllable is lost, and the audience are left in
doubt which has the mastery, the poem or the music. The tout ensemble
is excellent, and we are tempted to believe that Homer thus accompa-
nied his Iliad with his lyre. (!)

LEIPZIG.

On the 29th of July, M. Lowe gave us an evening entertainment,
consisting of nothing but vocal and piano-forte music. The first part
commenced with an unknown Alp'fantasia for the piano, which was
followed by about four ballads. The well-known piano-forte piece,
Mazeppa, opened the second part; this was followed by four more
ballads, one of which was an improvisation. We must confess that we
could hear but little of the vocal parts, though we had a very good
place. The piano alone was audible to us, and hence we can pass no
judgment.*

VENICE.

Ricci's new opera. Monsieur de Ckalumeaux, was performed in the
Teatro san Benedetto, on the 14th of June, and met with the most
favourable reception. Galli played the chief part with his usual skill.

NAPLES.
An Accademia was given on the 23rd of June to solemnize the placing
of Zingarelli's portrait among those of celebrated composers. M. Florino,
a pupil of Zingarelli, directed the whole, while the gentleman in whose
honour the concert was given, knew not a word of the preparations, as
the design was to astonish him. He at last, however^ heard of it,
and would modestly have been absent, but was compelled to yield to
solicitations, and made his appearance, to the general satisfaction of the
assembly.

AMSTERDAM.

On the 7th and 8th (of September) the annual and general meeting
of The Society for the Advancement of Music^ was held in this city,
liie report of the managing Committee was extremely favorable. Since
the 1st of Sept. 1884, the number of members has more than doubled,
and now amount to 1600 persons, at the same time that a new branch

* Compare this with the Dresden Report immediately abore. Doctors differ,
confoundiogly ss confoundedly*— En.

has been formed in North Brabant. This extraordinary increase is
principally attributed to the effect and importance of the grand Musical
Festival last winter, at the Hague, under the patronage of the King. It
has been settled that the Festival shall take place here next spring.
Resolutions have been passed in furtherance of the objects of the
Society, and everything promises brilliant success in the development
of the musical capabilities of the Hollanders.

THE DRAMA,

English Opera House.

Mr. Arnold has not resumed the management of this theatre, but left
the house in the hands of the performers, who on their own account are
carrying it on to the end of the season, and contrive to pay the expenses
of the establishment, including their own salaries. This is bette^; than
was anticipated, and creditable to those to whom the direction of a
forlorn hope has been committed.

On the 5th of last month, an opera under the title of No Plot with-
out Danger, being an adaptation of Mercadante's Elisa e Claudio^ was
produced. The original work was brought out at the King's Theatre in
the year 1823, and most justly condemned. It was found not to present
a new idea, but to be a series of plagiarisms, not happy ones, from be-
ginning to end, chiefly from Rossmi, then rising rapidly into fame. We
well recollect the felicitous terms in which the theatrical critic in the
Examiner designated the wretched work, — he most correctly spoke of
it as ' a potent draught of ennui.'

Such is the opera now adapted to English words : but foreign music
being at present the rage, even on the English stage, that which for-
merly was abruptly dismissed from the Italian theatre, found favour in
the ears of a British audience for a few nights, though they were but few.
We can only say, that it had less claim to merciful notice in its new than
in its former state, and it was with many wry faces we swallowed, to the
last drop, this ' potent draught of ennui.*

A pupil of the Royal Academy of Music, Mr. Stretton, made a suc-
cessful debdt on the stage in this opera. His voice is a base, of suf-
ficient compass and fair quality. His intonation is good, anf' he
evidently is a musician. ]But he is too ambitious of treading in le
steps of certain Italian singers who do not furnish the best model for
an aspirant. They are applauded at present, the example therefore is
seductive, but a style once formed is difficult to abandon ; and a singer
who hopes to pass the whole of his professional life before the public,
should endeavour to establish himself on the solid basis of immutable
taste, he will tlien never become antiquated, though he may occasionally
be in bad odour with the small and uninfluential number of ultra-
fashionables.

On the 14th of the same month, a new * Romantic Drama,' in three
acts. The Dice of Death, was brought out with complete success.

The story is German, — most legitimately German ; diablerie is the
order of the night, from the first scene to the last. Ilie principal cha-
racters are, Ernest Winter and Mephislophiles^ the one a young
painter, unaccountably inconstant, the otlier a demon, gratuitously
cruel.

There are glaring extravagances in this, but evidences also of a pow-
erful genius. The author (John Oxenford, Esq.) has not made himself
a slave to the unity of time, for the drama spreads over an interval of two
years; nevertheless he has contrived to excite prodigious interest, the
piece has been performed every night since it came out, and most likely
will continue in the same request till the conclusion of the season.
There are three or four songs m it, and two choruses ; but the music is
so entirely subordinate, introduced in compliance with the conditions of
the license, that we shsdl content ourselves by mentioning one song, the
first, which is very pleasing and impressive.

ERRATA.
Fm 91, firttj column, second line from bottom, for ^ There, then,' read ' There,
Page 94, first column, seventh line from bottom, for * Geibst/ read ' Zerbst'

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET.

Fbimx» bt Wt CLOWES ams 80NS| Dvu Stbbiti Ljoibbtb.

WILLIAM OLOWIf AIID Mnn, rBIVm% fTAMVOU •IMIT, LAIUITS.

CONTENTS.

I. MUSIC AND COMPOSERS OF

Part XX.

.. xxr.

.. XXII,
.. XXIII.
.. XXIV.

Page
. 1

Part XXV. .

•

PiMje
. 61

. 13

.. XXVI. .

•

. 73

. 23

.. XXVII. .

•

. 85

. 37

.. XXVIII. .

. 97

. 49

II. BIOGRAPHICAL NOTICES,

Arnold, Samuel, Mus. D.
Bach, Carl Philip Emanuel
Bertoni, Ferdinando .
Bierey, Gottlob Benedictus
Boccherini, Luigi
Breton, Nicholas
Brooke, Frances
Carpentier, Adolphe le
Cooke, Benjamin, Mus. D.
Cunningham, John
Dibdin, Charles
FUrfey-, Tom
Fitzherbert, John, Esq.
Geary, T. A. .
Giardini, Felice
Herrick, Robert
Hill, Aaron .
Howard, Samuel, Mus. D.
Martini, Vincenzo
Mayerbeer, lacomo •
Mercadante, Saverio .
O'Keefe, John
Oginsky, Michael, Comte d'
Purcell, Henry
Faer, Ferdinando «
Radcliffe, Ann

Ravenscroft, Thomas, Mus. D.
Ricci, Luigi
Rousseau, Jean-Jacques
Sacchini, Antonio-Gasparo
Schubert, Franz
Schnyder, Xaver
Scott, Sir Walter
Smith, John Christian
Szymanowski, Marie •
Weelkes, Thomas

1
26
85
37
62
74
85
62
3S
62

3
38
97
49
50
14
50

2
86
97
26
13
87
49
51
85
58

3
74
62
74
38
74
97
51

III. MISCELLANEOUS ESSAYS, NOTICES, ftc,

A Composer's remarks on Music

Algerine Music . . • •

Classical Chamber Concerts .

Commemoration of Sir Iliomas Greeham

Gloucester Musical Meeting

Improved Double Drums

Musical Lectures • • • .

Music, on the Benefits conferred on, by St. Dunstan

On Musical Education

Prologue . ...

Stradella and Hortensia

War of .the Concert Rooms

What is the meaning of the word * Ciassicar in a musical sense

York Organ ......

Page
58

100

IV.

REVIEW OF NEW MUSIC.

9, 32, 45, 57, 79, 95, 105

V. CORRESPONDENCE.

Bach, S., Fugues of .

Church Music

English Opera House and British Musicians

On the Romantic in Music

On the New Musical Fund

Philharmonic Concerts

Siege of Rochelle

Clarke WhitEeld, Dr. John

VI. CONCERTS.

Benefit Concerts
Catch Club .

Classical Chamber Concerts •
Concerti da Camera .
Concerts of Ancient Music
Eisteddvod and Cambrian Concert
Madrigal Society
Philharmonic Concerts
Quartet Concerts
Royal Academy of Music
Royal Society of Musicians
Society of British Musicians •
Vocal Society

Dr. Crotch's Oratorio, The Captivity ofJudak
Musical Festival, Exeter Hall *

• 18
. 99
. 5
. 30
. 101

• 65
39,63

. 65

. 104

• 103
44, 57, 69, 77

19, 31

. 66, 90, 102

. 104

• 43
56, 67, 77, 92, 103

70, 78
70. 79
. 104
SO, 44
56, 69, 77, 94

. 94
. 75

CONTENTS.

VII

Covent Garden Theatre
Drury Lane Theatre .
King's Theatre
St. James's Theatre
Theatre Royal Lyceum

DRAMA.

Page

12, 35

12, 23, 35, 48, 84, 96, 108

72, 84, 96, 108

. 35, 48, 72

. 12, 24, 84

VIII. FOREIGN MUSICAL REPORT.

Albany •
America .
Berlin
Boston
Cassel •
Dortmund
Dresden •

. 23
. 11
. 21. 34, 70
. 22
. 95
. 35
35, 59, 71, 84, 95

Erankfort on the Maine • 96

Gorlitz • , • • .35

Halle • . .35

Italy. . '. . n

Jena ... • .71

Leipzig . . . 22, 59, 83

Milan . . 48,107

Mahlhausen in Thdringen . 21

Naples .
New York
Philadelphia
Pittsfield .
Prague .
Strasburg
Venice .
Vienna
Weimar .

. 48, 107

. 23

• 23

. 23

47, 83, 96, 107

. 21

48, 107

46, 71,>3, 106

. 11

IX. THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN
AND IRELAND.

No. I. The Chapel Royal

. 6

. . II. St Paul's ....

. 14

. . III. Westminster Abbey .

. 27

.. IV. Canterbury ....

. 43

.. V. York ....

. 63

. . VI. Armagh (Ireland) .

. 75

.. VII. St. Asaph, Bangor, Bristol .

. 98

X. CORRESPONDENCE OF ZELTER AND GOETHE,

WITH ILLUSTRATIONS.

No. I.-IV , . . .3

.. v.— IX .16

.. X— XtX .28

.. XX.— XXVII 41

.. XXVIII.— XXXI 88

MUSICAL lilBRARY.

MontUu Supplement

No, XX. NOVEMBER, 1835. Price Sixpence.

The Music of Part XX.' . ."'. . • /T
Conespondence of Zelter and Goethe • . • 3

On Musical Education 4

EiigUih Opera House and ' British Musicians ' 5

CONTENTS.

Ecdesiastical Choirs of Great Britain and

Ireland 6

Gloucester Musi<^ Meeting 8

The York Organ 8

Review • 9

Foreign Musical Report 11

Drama 12

THE MUSIC OF PART XX.

Serenade — (Page 1).

This very melodious and lovely composition of Beethoven, having
an obbligato accompaniment, is less known than, froqn the cpmpa-
ratively easy manner in which it is written, might have been
expected. In the absence of a flute or violin, the accompaniment
may be played by a third hand, occasionally omitting a note
or two, or by taking an octave higher such notes as interfere
with the regular piano-forte part. We have not printed the
final movement of this, — a sort of variation in three-eight time, —
thinking it trivial, and by no means corresponding with the other
parts of the work. The introduction to this is the adagio in
Beethoven's Sonata^ Op. 17, dedicated to the Baronne de Braun.

Rondo — (Page 6).

In the opinion of all musical critics, this is the best instrumental
work that ever proceeded from the pen of the composer,

CARL-PHIUP-EMANUEL BACH,

second son of the famous Sebastian Bach. He was born at
Weimar, in 1714, and when young studied the law, having been
intended for a civilian ; but his father, perceiving his son*s strong
predilection for music, acquiesced in his wish to make it his pro-
fession. Even while engaged in his legal pursuits, he composed,
and conducted concerts, at Frankfort In 1 740, he entered the
service of Frederick of Prussia (commonly called ' the Great'),
whom, says Dr. Burney, ' he had the honor to accompany on the
harpsichord, in the first flute-piece his majesty played at Char-
lottenberg, after he was king.' , He continued at the court of that
monarch twenty-seven years, though not well satisfied either with
his salary or treatment, but could not obtain leave to quit till the
year 1767, when he succeeded Telemann, as music-director at
Hamburg, where he died in 1788.

In 1772, Dr. Burney visited Em. Bach at Hamburg. Speaking
of his performance on the clavichord — an instrument which may
be called the parent of the piano-forte — Dr. B. says, ' he con-
vinced me that he is not only one of the greatest composers that
ever existed, for keyed instruments, but the best player in point of
expression; for others, perhaps, have had as rapid execution.
However, he possesses every style, though he chiefly confines
himself to the expressive. He is learned, I think, beyond his
father, and is far before him in variety of modulation/ (Burney^ s
Oerman Tcur,)

Em. Bach's compositions are numerous, the greater part vocal
or for keyed instioiments. In our possession is a considerable
number of them, but except the rondo now republished, we have
not discovered in the collection anything to justify the eulogiums
pronounced on his instrumental works oy so many persons who
ought to have been able to form a correct estimate of their
merits. _«_«_^__^_«^_.«_

Rondo— (Page 10).

From the second of Three Sonatas, dedicated to Muzio dementi,
byDussek; Op. 35.

The opera 35 of Dussek was composed much more with a view

Vol. III.

to fame than profit. Indeed, he, who well knew the difference
between what he wrote for immediate sale, and that by which his
reputation was to be sustained, would never have offered to the
' father of the piano-forte' a work not entirely worthy of both
parties. The time in which this is written is not in common use,
but is virtually the same as six-eight ; the only difference is in
the notation, and in the word indicating the degree of quickness.

Air, with Variations — (Page 16).

The air from Bellini's opera Norma, the introduction and varia-
tions by W. Plachy. But we have stripped the original of such
parts as, apparently, were written to swell out the piece to a size
better calculated to aid the mercantile views of the music-dealer,
than to add to the effect of the work.

Glke — (Page 1).

Desolate is the dwelling of Moina *; silence is in tlie house of her
fathers. Raise the song of mourning, O bards ! over the land of
strangers : they have but fallen before us ; for one day we must fall.
.... Yet a few years, and the blast of the desert comes, and whistles
round the half* worn shield. Let the blast of the desert come! We
shall be renowned in our day ! The mark of my arm shall be in battle,
my name in the song of bards.

From Carthon, one of Ossian's poems. Clessammor was driven
by a storm into the river Clyde, and hospitably received at Bal-
clutha by Reuthamer, who gave him Moina, his only daughter,
in marriage. Reuda, a Briton, and suitor of Moina, challenged
Clessammor to combat, and was killed. The Britons resented bis
death, and Clessammor was obliged to fly, leaving Moina with
child, and she shortly became the mother of Carthon. Balclutha
was afterwards attacked and burnt by Combal, father of Fingal,
and Moina is supposed to have lost her life in the destruction of
the town. When Carthon reached man's estate, he determined to
avenge the fall of Balclutha, and meeting his father in battle, not
knowing him, Clessammor fell by the hand of his son.

Fingal, who relates the story, commences his narration in the
words selected by Dr. Callcott, who set them to music in 1799,
while on a visit to the late Duke of Marlborough, at Blenheim.

Aria— (Page 6).

Col sorriso d'innocenza,

Collo sguardo dell' amor,
Di pcrdofio, di clemenza,

Deh ! favella al genitor.
Digli, ah ! digli che respiri,

Uhe sei libero per me,
Che pietoso un guardo ei giri

A chi tanto opr6 per te»

From n Pirata, a serious opera, composed ty Bellini, and first

froduced in London, for the debut of a Madame Lalande, in
830. The story is from Maturin's tragedy, Bertram, Between
Oualtiero and Imogine a mutual attachment subsists, but to save
her father's life, the latter bestows her hand on Ernesto, Duke of

* Dr. Callcott, probably from inadvertence, has changed Moina into Moma, and
thus we have allowed it to stand under the notes. Moma, however, was the mother
of Fingal^ and Moina the wife of Clessammor, Moma's brother.

THE MUSICAL LIBRARY.

Caldora. The duke is afterwards slain by Gualtiero, who is tried
and condemned ; and Imogine, unacquainted with the death of her
husband^ addresses her child in the above words, while she is
preparing to Bi/t'clt the duke's pardon for OuaUiero, who had
become a kind of noble pirate.

Brasilian Air — (Page 8),

And are these the mountains

Where once I roam'd so gaily ?
And are these the fountains

I loved to visit daily ?
And are these the valleys

Where, hlithely, I sported ?
And are these the woodlands

Whose cool shade I courted ?

Yes, these are the valleys, these are the woodlands.
The scenes have not altered, I only have changed.

From a collection of Brasilian Ballads (BrasilianiseheVolkslieder)^
arranged and published by M.M. Spix and Martius. The
EngUsh words are a free translation from the Portuguese of
GoNZAGO^ to whose poetry the original air is adapted.

Silvio.

Endimione.

Doristo.

Diana.

QcJARTETTO^(Page 8).

Tleih di noi ! pietk di lei !
Possiara se Dea tu sei.
Da te sperar pietli !

Perchfe de sdegni miei
L'usato ardor non sento ?
Perchfe del lor lamento
Mi far sentir pietk?

From the comic opera UArbore di Diana, composed by

VINCENZO MARTINI.

There have been three distinguished musicians of this name.
Vincenzo — sometimes called Spagrmolo — ^was bom at Valentia in
Spain, about the year 1754. In 1785 he was Maestro di Cap-
pella to the Prince of Asturias, who afterwards ascended tlie
Spanish throne as Charles III. In 1786 appeared his very
charming opera La Cosa Rara, which, ten years after, was per-
formed on the English stage as The Sieae of Belgrade; though
Stephen Storace, who brought it out, addea some few composi-
tions of his own. At nearly the same period it was also pro-
duced at the Kind's Theatre, in its ori^nal state. About that
time, too, Martini s opera, UArbore di Diana, — composed for
Vienna in 1787 — was given at our Italian Opera-house, when
the above delicious quartet was sung by Si^nora Storace, Signor
Viganoni, Mr. Braham, and Signor Morelli. Gerber, in his
Lexicon, mentions several other vocal works by this clever and
oHginal composer, the last of which appeared in 1800. From
that year, nothing concerning him seems to be known.

Cantata — (Page 14).

From rosy bowers, where sleeps the god of love.

Hither, ye little wanton Cupids, fly ;
Teach me, in soft melodious strains, to move,

With tender passion, my heart's darling joy :
Ah ! let the soul of music tune my voice
To win dear Strephon, who my soul enjoys.

Or, if more influencing

Is to be brisk and airy.
With a step and a bound.
With a frisk from the ground,

I'll trip like any fairy.

As once on Ida dancing

Were three celestial bodies.
With an air, and a face,
And a shape, and a grace,

I'll charm, like beauty's goddess.

Ah ! 'tis in vain ! 'tis all, 'tis all in vain !

Death and despair must end the fatal pain :

Cold, cold despair, disguised like snow and rain.

Falls on my breast. Bleak winds in tempests blow;

My veins all shiver, and my fingers glow ;

My pulse beats a dead*march for lost repose,

And to a solid lump of ice my poor fond heart is froze.

Or say, ye powers! my peace to ciowd^
Shall I uaw myself, and drown

Among .the foaming billows.
Increasing all with tears I shed ?

On beds of ooze, and crystal pillows,
Lay down, lay down, my love-sick head?

No ! no ! I'll strait run mad, mad, mad ;

That soon my heart will warm :
When once the sense is fled,

Love has no power to charm.
Wild through the woods I'll fly, I'll fly !

Robes, locks, shall thus be tore !
A thousand thousand times I'll die,

Ere thus in vain adore !

These words are from the third part of D'Urfey's comedy, D(m
Quixote, performed in 1694. They are likewise printed in his
collecti6n, entitled, PUls to purge Melancholy, a work in six
volumes, now exceedingly rare, in which he calls this, ' The lady
distracted with love/ and represents, says Dr. Percy, ' his pretty
mad-woman, as, 1. sullenlv mad: 2. mirthfully mad: 3. melan-
choly mad : 4. fantastically mad : 5. stark mad.' And in an
ancient copy, in our possession, of this cantata, the five movements-
are so marked in manuscript, apparently as directions to the
singer. It was first sung by Mrs. Cross, iii the character of
Altistdora, and has ever since been assigned to the best soprano
performer of the day; for to execute it well, every variety of
vocal talent, and a power of expressing the strongest feeling, are
requisite.

This, the widow of the composer tells us, in the first edition of
the Orpheus Britannicus, was ' the last song that Mr. Purcell
set, it being in his sickness.* He seems, as Dr. Bumey remarks,
' to have realised the poetical fable of the swan, and to have sung,
more sweetly as he approached nearer his dissolution.'

TOM d'urfey,

— for by this familiar name he is almost invariably mentioned —
was born in Devonshire, about the year 1655, and bred to the
law; but, as so frequently had before and hdis since happened,
the Muses seduced him from a road that generally leads to
wealth, into the path of imagination and wit, which, in his case,
led only to fame, and not of the highest kind ; though he cer-
tainly was a man of superior ability, — ' the delight,' says one of
his biographers, ' of the most polite companies, from the be-
ginning of Charles II.'s to the latter part of Greorge I.'s reign;
and many an honest gentleman got a reputation in his county,
by pretending to have been in company with Tom D'Urfey.*
'JHie writer of No. 67 in 7%e Guardian, states, that he * remem-
bered king Charles II. leaning on Tom D'Urfey's shoulder more
than once, and hunaming over a song with him.' He was a tory
of the most decided kind, and^frequently diverted queen Anne, in
the latter part of her life, with pieces of humour, written by him-
self. From his pen proceeded upwards of thirty dramatic pieces,
all of which quitted the stage long ago ; and ms reputation as a
wit rests on the above-mentioned work, in which are many pro-
ductions of his own, several of them abominably gross, most
unquestionably : but in ' the good old times,' the manners were
licentious^ the taste coarse and vulgar, and D'Urfey, who lived
by his writings, had to choose between pleasing the tovm, and
poverty. He died in 1723.

Air— (Page 20).

Que le jour me dure

PassS loin de toi !
Toute la nature

N'est plus rien pour moi.
Le plus verd boccage,

Quand tu n'y viens pas,
N'est qu'un lieu sauvage,

Pour moi sans appas.

Helas ! si je passe

Un jour sans te voir,
Je cherche ta trace

Dans mon d^sespoir.
Quand je Pal nerdue

Je reste k pleurer ;
Mon ame <$perdue

Est pr&s d'expirer.

THE MUSICAL LIBRARY.

Le coftur me palpite

Qiiand j'entends ta voix:
Tout mon sang s'agite

Dds que je te vois.
Ouvres-tu la bouche ?

Les cieux vont s'ouvrir ;
Si ta main me touchei

Je me sens fr^mir.

Written and composed by

JEAN-JAQUES ROUSSEAU^

the distinguished philosopher and eloquent writer of Geneva,
which city gave him birth in 1712. His father, a watchmaker,
at first purposed hringing him up as an enamellet ; then as an
engraver ; but he, rejecting both, in 1728 quitted his native city,
and travelled in Prance and Italy, where he suhsisted by his
knowledge in music. It was at Venice he acquired a taste for
the compositions of Italy, of which he thenceforward became the
champion; though, while asserting the unsuitableness of the
French language for music, he composed a French opera, Le
JDevin du Village. Governed by the same inconsistent spirit, he
wrote a comedy, Narcisse, and a novel, Heloise, after inveighing,
in his powerful, persuasive manner, against the immoraUty of
the stage, and such works of imagination as romances, it is
lio disparagement of Rousseau to say, that, for a considerable
time, he copied music as a business; but it ought also to be
added, that he applied the profits to the support of a distressed
female relation. His attack on French music, in his celebrated
letter, incensed the nation against him, and the various articles in
his Dtctionnaire de Musique by no means appeased public re-
sentment. These, and his other controversies, moral, political,
and literary, at length made Paris irksome to him ; he, therefore,
retired to the village of Ermennonville, where he died in 1778.

Rousseau was not profound, either as a musical theorist orcom«
poser, but his quickness of apprehension, and delicacy of taste,
supplied the want of both. His dictionary is still a useful work ;
much of it is extremely eloquent ; but, as an authority, it cannot
be always relied on. His conopositions exhibit great tenderness,
and are always appropriate. The air now given is composed on
three notes only, a fact which passes unobserved by many, so
sweet is the melody, and so well adapted to the words.

CORRESPONDENCE OF ZELTER AND GOETHE.

No. L

[We at length present our readers with the first of a series of
copious extracts from this memorable correspondence. We in-
tend that these selections shall be fuller than those which have
appeared in any other English work. Or, at least we shall give,
in an entire state, the letters we select, for we consider that mu-
tilation destroys the effect of the epistolary style.]

To Madame Uxger.

Herewith, my revered friend, I send you my newest songs;
and these, by-the-bye, on the first of May. There are two copies.
One is for yourself, the other you will have the goodness to send
to the excellent author of WUhelm Meister, if a convenient op-
portunity should offer. I wished that my songs might not be so
unknown to him as my name* I have composed the music to his
verses, in no superficial manner, and for that very reason fear it
will circulate but little. The songs are not made for the public
at large ; and who will study my few trivial notes as I have studied
his incomparable verses? Herr von Goethe will best know
whether I have hit upon his meaning. In such matters I do not
in the least trust to my friends ; they praise that which I could
do much better, and that which no one does better, or even so
well, they pass over in silence. This puts me out of all patience.
The notes are now printed once for all ; they may try their for-
tune in the world. Remember me to Herr linger. I remain,
with the greatest respect, yours, Zelter.

Berlin, Ut May, 1796.

No. n.

To the same.
You have, most worthy lady, given me great pleasure by your
letter, and the songs which you sent me. I met with the excel-
lent compositions of Herr Zelter in a society, which first made

me acqusunted with his labours. His melody to the son^ Ick
denke dein (I think of thee), had for me an incredible charm,
and I could not refrain from writing for it those words which are
in Schiller's Mtuenalmanach.

I cannot judge of music, since I have no knowledge of the
means by which it attains its end ; I can only speak of the effects
it produces on me, when I give myself up to it purely and re-
peatedly ; and thus I can say of Herr Zelter's compositions to my
songs, that I scarcely gave music credit for such heartfelt tones.

Give him many thanks, and tell him that I much wish to know
him personally, to converse with him on various subjects. In the
eighth volume of my romance there wHl indeed be no room for
songs, but the remains of Mignon and the Old Harper^ are not
exhausted ; and fill of which any thing can be made, I most wil-
lingly leave in the hands of Herr Zelter.

Sowever, I shall soon, perhaps, send some more songs, with a
request to compose them for Schiller's Musenalmanach ; I hoped
to have sent them with this answer, wherefore it was delayed
beyond the limits of courtesy.

Thanks, most worthy lady, for your trouble, and believe that I
know how to prize the interest which good and cultivated souls
take in me, and in those labours, by which I am enabled to ap-
proximate a part of my existence to those unknown minds who
are at a distance from me. Goethe.

Weimar, lith June, 1796.

No III.
To Goethb^
Mt excellent friend, Herr Unger, gave me inexpressible delight
by showing me a passage of your letter to him. The applause
which my attempts could receive from you, is a happiness I have
long desired, yet never hoped for with confidence ; and though,
concerning many a successful composition, I have felt no doubts
in myself, yet has the approbation of a man, whose works are my
Penates, afforded me a satisfaction, which I never felt so purely
and warmly before.

I regard it as a great reward, that you further wish to trust to
me the composition of your poems, poems which 1 know not hpw
to praise, otherwise than by the unmingled echo of my inmost
feelings ; and I make bold to say, that I have worked at your
poems with the most devotional care, and to the extent of the
talents I possess.

Besides the poems which are printed after my music in Schiller's
Musenalmanach, I have composed Der Zauberlehrling (the Ap-
prentice in Magic), Die Braut von Corinth (the Bride of Corinth),
Das Blumlein Wunderschon (the flower Wonder-fair), Der
Singgesell und der M'uhlbach (the Youngster and the Mill-
stream), and Das Bundeslied (Song of the Union), which I
should readily send you, would you permit me. I have long
thought of so doing, yet dared not venture. A hint from you,
and they shall be in your hands as soon as possible.

I commend myself to your condescending regards, and remain,
with the deepest respect and love, right honourable Sir, yours,
most devotedly, Zelter.

Berlin, 11th jiugust, 1799.

No. IV.

To Zelter.

With the sincerest thanks I reply to your friendly letter, in which

iron would tell me, by words, that of which your compositions have
ong since convinced me, viz., that you take a lively interest in
my works, and from pure inclination have made some entirely
your own. The beauty of an active sympathy is, that it is re-
productive; since if my songs awaken you to melodies, I can
truly say that your melodies have aroused me to many a song ;
and I am sure, that if we lived together, I should feel myself
elevated to a lyric mood of^ener than at present. By communi-
cations of ahy kind you will give me the greatest pleasure.

I send also a production, which has a somewhat singular ap-
pearance. It owes its origin to this thought : Whether dramatic
hallads cannot be so constituted, as to give the composer matter
for a vocal piece of greater magnitude ? Unfortunately the piece
in question is not worthy of so great an expenditure of trouble.

1 wish you good health, and request you to remember me to
Herr linger. Goethe.
Weimar, 2Gth August, 1799.

* Two cbaracten in ffUktlm Meitttr. Ed.

THE MUSICAL LIBRARY.

ON MUSICAL EDUCATION.

[From the French of M. Grbtrt.]

There is no truth that should be more frequently, and certainly
no one that can be more profitably, repeated to the student than
this: — '^lliat it is by observing and following nature, that the
imitative arts are brought to perfection.'* It must, however, be
at the same time remembered, that all the modes of following
nature are not equally good. Every passion, every character, has
a variety of features ; and according to the subject treated, and
the situation presented, there is always one which will claim the
preference over the rest. Hence the danger of imitating even a
good production, if that production be itself but an imitation ;
this copy of a copy cannot but feebly reflect the lively sentiment
with which the man of genius was animated. In a word, if in his
productions the artist imitate only the works of man, his labours
will perish, whereas the nearer he approximates nature, which is
imperishable, the nearer he approacnes immortality.

There is nothing that would tend more to the happiness of my
declii>ing days, than to be able to point out to the young artist
the path he ought to follow; to inspire him with a confidence of
being able to attain the object in view ; to awaken in his breast a
spirit of emulation which no checks, no discouragements, can
cool. Whatever the road he had marked out for himself, what-
ever the peculiar bent of his genius, I should wish to encourage
him in the race, by pointing out the prize that awaits him at the
goal. In a word, I should wish to convince him of this impor-
tant truth, that his talents must be directed to some particular
branch of excellence, to whfch he should limit his ambition, for
that, of all delusions, the most fatal is the presumption of being
able to attain to universal perfection.

But, it may be urged, is it not according to the more or less
active nature of his being, according as his organization is more
or less fa\ ourable to the science which forms the object of his
pursuit ; is it not after having called all his faculties into activity,
and tried every kind of excellence, that the young artist succeeas
in selecting that which is best adapted to him ? In some respects
this is true. Such is the course which many have followed in
reaching the term of their studies ; but it is not the best. It re-
quires a mass of dispositions, which do not fall to the lot of all
the aspirants to excellence, to enable them to surmount the
dangers by which this method is attended. We may rest as-
sured, that many talents which would have attained perfection,
have been destroyed in the very bud of their promise, from an
ignorance of the means of giving them a due direction, and of
forming them according to models of acknowledged excellence.
It will not be denied, 1st, That a young man is often thrown
almost at hazard, into the hands of an ignorant master, who has
no pretension either to taste or discernment; and that, unfor-
tunately, whatever this master does, whatever he esteems, admires,
and prefers, will, in his pupil's regard, become the model of per-
fection to which he will aspire. Is it not melancholy to see that,
in such a case, every step he takes towards the point of imaginary
perfection is but an aberration from the right line ? 2dly, That
the pupil, ere yet scarcely initiated into the science, may fall into
the hands of somCpedant, who by dint of checking, the sallies of
genius, and of moulding nature, as he terms it, may render both
the one and the other contemptible. 3dly, That he may fall into
the hands of some coterie, some knot of partisans of a particular
species of bad taste, who, recognise nothing as good beyond their
little contracted sphere of excellence. 4thly, That if he frequent
the society of amateurs of noisy music, of the grand effects of
harmony, of a curious complication of chords, he will be per-
suaded into the belief that this is the only course he ought to
adopt. . Sthly, That if circumstances should throw him in the
way of church-music, either in Germany or Italy, where he will
hear little else than fugues, learned counterpoint and figured
song, it is much to be feared that the happiest disposition for
painting the passions, for creating felicitous melodies, would re-
main smothered beneath these scientific masses. 6thly, That if
he should labour for the theatre, and it should fall to his lot to
try his talents on some meagre and ill-digested subject, which
anbrds no exercise for the imagination, he will believe himself
destitute of talent 7thly, That, if, after having composed good
music to an unsuccessful poem, his music should be treated with
neglect, he will think that he has deceived himself, and wish to
change a manner that is good, for one which is inferior.

When the pupil has been sufficiently instructed in the prin-

ciples of the art, a good master will choose the favourable moment
for reasoning with him upon the grounds and nature of the art
itself, in order to determine him in the choice of what is excel-
lent ; he will demonstrate to him what is the excellent of all times
and places, in opposition to that which depends upon fashion, or
is upheld by the mania of particular times and particular men.
Nothing will tend more eflcctually to determine the pupil's mind,
and convince him of the certainty of a real standard, in opposi-
tion to that which is uncertain and the product of circumstances,
than an examination of the method pursued by those masters
who have obtained celebrity, and a consideration of the reasons
why such a style and character of music has constantly main*
tained its ground, while others have suddenly sunk into oblivion,
or insensibly fallen into neglect, after enjoying their hour of
celebrity.

Convinced of the truth of such observations, the pupil would
be prompted thus to reason with himself: " Yes, I now begin to
see which is the true road to excellence ; by following it, 1 shall,
according to the means with which nature has endowed me, ap-
proach nearer to perfection, and shall no longer run the risk of
being led astray by that which has only the semblance of truth.
If I nave talent, I may hope to obtain that reputation which will
not perish with the fleeting breath of popular applause; and
without aspiring to perfection, I may reasonably hope to have
made some advances in the path of excellence, and leave behind
me some memorials of industrious and not ill-directed study, by
which those who succeed me may possibly profit."

There are two roads which conduct to celebrity in the arts and
sciences — that of theory and that of practice. Theory in science
is speculation pursued as nearly as possible to mathematical
exactitude, from which results a code of laws. Pmctice consists
in the employment of these rules, modified so as to produce the
most pleasing effect, and brought into action by being applied to
some determinate object which the artist wishes to describe. la
all cases, it is doubtless necessary to possess more or less of the
theory of an art, before proceeding to the practice of it; but we
may also devote ourselves exclusively to theory, and become
learned, without ever reducing the elementary rules to practice^
without ever employing them to the end for which they were
made.

But let us consider, whether by dedicating too much time to
the theory of the arts, particularly those whicn administer to our
pleasures, we may not estrange ourselves from the very object
which those arts have in view. If in our days too great an am-
bition has been shown to appear learned ; if a curious complication
of harmony has been too studiously sought, to the detriment of
genuine melody, it is surely time to return to that noble sim-
plicity which is the very soul of art ; it is surely time to change
our system, by consulting our feelings, which reproach us with
having run into excess, i es, let the youthful votary of the art
be persuaded of this important truth — that the more we affect
learning, the more we shall depart from the true, the touching,
and the beautiful. I do not fear to assert, that the smallest
original air is preferable to the most ingenious and scientific com-
plication of harmony. The author of a beautiful air has done
something for our enjoyment ; the author of a series of calculated
harmonies has surprised us, has led us into a labyrinth, from
which we are generally anxious to extricate ourselves as quickly
as possible. I'he real amateur, the true musician, will ever hold
it as a principle, that it is only those ^ho are strangers to the
soul of melody, that will show en exclusive preference for the
laborious system of harmony. No ; harmony is but a beautiful
problem, of which song is the solution.

One of the first objects, therefore, of a good master will be to
teach his pupil to construct melodial phrases, and to unite th^m
with grace. He does this from a conviction, that the art of con-
structing captivating melodies is the art par excellence. The
very reverse of this is the method usually pursued by masters of
composition, who begin by giving a base, upon which they make
the pupils construct a melody. But it will be found, that the
result of such a method is not a melody properly so called ; it is
the product of a base, and, according to the best masters, the
song is good if it proceeds in a contrary movement to the base ; if
consecutive fifths, double octaves, and the intervals termed frrc-
gular be avoided, &c. Why then give the pupil a base, which
can only produce a formal melody, an artificial production, a
mechanical song, in which sentiment is out of the question ? No,
a good master will pursue the very opposite method to this : he

THE MUSICAL LIBRARY.

win teach the pupil to compose a "melody, in which^ taste and
feeling have a share^ and which will assuredly be susceptible of a
base ; he will be cautious not to impede the free march of feeling;
he will habituate the pupil to the creation of easy and pleasing
melodies ; he will teach him to regard the base, the harmony of
accompaniments-^in a word, the scholastic part — in the light in
which they ought to be considered, namely, as the support of the
melody, as the pedestal of the statue. What, indeed, can be
more ridiculous than to occupy the pupil's time in the erection
of pedestals, without ever speaking of the statues ?
- But it may be said, if the pupil has genius, he will afterwards
naturally proceed to the production of sentimental melody. I
would answer, no ; he will not do so, unless urged by the force of
nature herself. And why should not the system of education
have been sedulous from the very beginning, to follow the course
which nature herself spontaneously suggests ? Our system of
education chains down the pupil to the mechanical branch of the
art, at the very time he ought to be exercising his talents upon
that which is essential ; I call it the essential part, because it is
thence that all our pleasures result. Having first of all fixed the
ideas respecting melody, I am aware, that in order to form a
finished composer, a painter of the passions, recourse must neces-
sarily be had to the study of counterpoint ; but then there will
be nothing to fear ; song, the essential branch of the art, will
have taken deep root, and harmony and (counterpoint will come
at a favourable moment to foster its growth, and impart to it its
necessary strength. Heretofore masters appear to have been
more solicitous with regard to science than to song ; on the con-
trary, it were to be wished, that harmony should ever be consi-
dered as the assistant, as the support of song ; and that the most
effectual method of becoming a good harmonist is, in the first
instance, to have the mind deeply imbued with the essence of
melody. Let this art, which is justly entitled* to the name of
sentimental music, be once developed ; let the pupil be taught to
analyze his feelings, to give a satisfactory reason why such a
particular note in such a particular situation produces so power-
ful an effect, making our bosom either thrill with delight, or
shudder with horror, and it will be seen what a progress will be
made in the real art of music !

. Never let us doubt of the important truth, that it is melody
alone which can guide us secure through the labyrinth of modu-
lated chords ; that it is she alone who can keep us within the
lounds marked out by good taste ; that when melody ceases to
be pleasing, we are arrived at the point at which science ought to
stop. A good master, therefore, will make his pupil compose
the most pure and simple airs, and proceed to the art of modula-
tion, before he attempts to initiate him in the mysteries of
thorough base. He will make him compose airs of a passionate
and terrible kind, progressing into a variety of modes. He will
be under no apprehension of his producing a medley not suscep-
tible of an accompaniment ; for he has already taught him that
sonff must be his guide throughout. He will not, therefore, make
inconerent errors ; it is only the ambition- of passing for learned,
that betrays us into the commission of sublime blunders like
these. According to this principle, let us suppose that the pupil
begins a' subject in c major ; he will afterwards pass into g, into
D, and into A ; he will be made to pause and remark the note
which-has made him quit the key in which he began, and con-
ducted him into these different modes. ' It will be observed to
him ; ' You were in c ; you touch the p sharp, the leading note
of G, you are therefore in g ; you touch the c sharp, you are
therefore in d, &c.' Always obliged to be cantabile, observe
what his course will be. If he commence his air in c major, and
the train of his impressions at the moment be of the tender and
pathetic kind, he will change his key, descending by fifths into
the minor mode. If, on the contrary, after commencing in c
major, his feelings should be of a joyous cast, or mounting to the
region of sublime ideas — should he be prompted to sing of the
glory of heroes, he will ascend by fifths into the major mode. If
in modulating, he should fall into an error — and he will fall into a
thousand before he becomes an adept in the art — he should be
told ; ' You have committed a ^and eiTor against rules ; for in this
place you are no longer cantabile,' It should then be pointed out
to him in what respect he has erred against rule ; and the key
should be pointed out to him into which he ought to have pro-
gressed ; but he should never be told with that coarseness which
IS but too common among masters; ' You are ignorant, sir ;' —
but 'You have been betrayed into an error here.' And if you

destine your pupil to be a painter of the passions, permit him to
make some blunders; it will make him more conscious of his
strength afterwards.*

In this manner it is, that instinct or sensibility will lead your
pupil to science ; while it may be set down as a principle, that
science would never have led him to that melody which is the
result of sensibility. When these happy dispositions have been
superinduced ; when the mind of the pupil is thoroughly im-
bued with song, and skilled in the art of modulation, then is the
happy moment to render him a composer ; for composition, in the
strict sense of the word, * signifies the art of making several
parts move together. Then it is that he may be taught to form
a scholastic theme of two, three, or more parts upon a given
bass ; for then, as before observed, there will be nothing to be
apprehended ; song, the essential part, will be predominant in all
his composition^, and harmony and counterpoint will now come
at the happy moment, to impart to them additional force, and
strengthen their expressions.

In order to render more clear the reasoning here pursued, I
would class the talents of composers as follows :

1st. The harmonist, without the faculty of melody ;
2nd. The melodist, without the science of harmony ;
3rd. The melodist, who is also master of harmony.

The harmonist who possesses not the faculty of melody, but
who occupies himself in researches upon the theory of the art,
doubtless merits our esteem ; he calculates, he prepares the
materials which await the vivifying touch of genius ; but such a
one runs the risk of being forgotten when the man of genius has
exhausted these materials, wlien he has enlivened them with
song, and imparted to them those accents of passion which render
them indestructible.

The melodist without the science of harmony is a child of
nature. There is no one of his accents but produces an agree-
able sensation ; he has the gift of pleasing the multitude, who are
solicitous only to be pleased, without troubling themselves about
science. Even the man of science is constrained to love him,
and experiences in listening to his accents a charm which pierces
through the scientific coating in which he is enveloped. Yes,
those melodial phrases which imprint themselves on the memory,
which haunt us night and day, are the genuine treasures of
music, in the same manner as those fortunate yerses which are
short in words, but comprehensive in sense, constitute the repu-
tation of the poet.

The master-melodist, who at the same time possesses a
thorough knowledge of harmony, is the musician par excellence ;
but how rare to find a man in whom these great requisites are
equally balanced ! It is sensibility that produces melody ; it is
the patient study of harmonial combinations that constitutes the
learned man : to conciliate the two faculties is a task more than
difficult. Let the youthful artist consult his own feelings, and be
studious to follow nature ; let him build his music upon melodies
that are pure and expressive, and they will possess a character
of truth which must survive all the vicissitudes of fashion. Let
him emulate the truth and melody that reign in the declamations
of Pergolesi, the tender, and angelic song that breathes through-
out the compositions of Sacchini, the expressive harmony that
prevails throughout the scores of Gluck. Study to preserve your
melodies so pure, and to render the phrases so correspondent one
to the other, that their impression may be instantaneous, and the
effect of the whole be seen at a glance. It is thus that they will
charm the fancy, and produce so indelible an impression on the
imagination, as never again to be effaced. Such is the Oise with
respect to all the great master-pieces that remain to us. In some
of their lesser details they may have partly grown out of date, but
their broader features {)osses3 a character of nature and truth,
which bid defiance to the influence of times and fashions.

THE ENGLISH OPERA HOUSE AND THE
' BRITISH MUSICIANS.'

To the Editor of the Supplement to the Musical Library.

Sir, — In a contemporary journal for October, I observe there is
an 'Answer' to my remarks on English 'Operas in your Supple-
ment of the preceding month, and more particularly to that part
of my letter in which I expressed a suspicion of the meditated op-

B 3

THE MUSICAL LIBRARY.

position to the reproduction of the SonnambuJa having proceeded
from the Society of British Musicians.

* God keep us from our friends, ' says the old adage, and I sus-
pect that the Society itself will admit its application readily
enough to their present champion at least, who tells me, among
other things, that I must ' know' the aboTO charge to be ground-
less, or I should not have shaped it as I did, (that is, in the form
of a suspicion only,) which means, I suppose, that if I had not
known it to be false, I should not have suspected it to be true—
an ingenious conclusion enough. And again, it appears that I
am ' currying favour with Mr. Arnold, to induce him to bring
out some foreign opera, of the profits of which I am to have a
share.' FinaUy, the writer bethinks himself that I must have
been one of the rejected at the last nomination of members for the
Society.

Now, I certainly do not hold myself called upon to give any
reply whatever to this species of reckless personal insinuation,
especially as the writer has adopted a 'style' with which certainly
no gentleman would have chosen to defile his paper. However,
as f don't want to be reminded, that when party feeling runs high,
this method of answering reasons by attributing motives is com-
monly received with only too much complacency, you will give
me leave to declare, that I neither have, nor have ever attempted,
either directly or indirectly, to have any connexion whatever with
the Society of British Musicians, and that the only communica-
tion I ever had with Mr. Arnold has taken place within this last
week, in the form of a correspondence upon the subject before me ;
upon which correspondence I have now one word to say.

Mr. Arnold says, that he can supply no information of the

5[uarter whence the intended hostility to him was to have proceeded,
t is remarkable, however, that the Royal Academv and the So-
ciety form the very nucleus of the party which, at all events, is an-
swerable for the intended attack, and that these two bodies have
no small number of members, subscribers and contributors in com-
mon. Hence, a suspicion of one or both of them, i^ unavoidable :
and the odour of the transaction, be it observed, must attach itself
with a tenfold ofTensiveness to the Society, as Mr. Arnold was at
the time losing hundreds nightly, in giving, one after another of
this phalanx of self-styled genuises, a fair trial with the public. I
need not remind the reader of the extent to which the press has
teemed for the last twelvemonth with accounts of the unheard-of
success of the Mountain Sylph^--o^ the triumphant manner in
which we have been asked, what foreign opera ever brought so
much money to the theatrical treasury, and how this opera con-
tinues to draw nightly overflows — and finally, how often Mr. Ar-
nold has been reminded that his ill success is attributable to him-
self alone^ in not giving ' popular and starving composers' money
for their operas, &c. &c. &c. Now, reader, take the following
passage upon this subject, from the lips of Mr. Arnold himself: —
' Au I have ftirther to remark is, that English operas with Eng-
lish composers has been the most ruinous speculation I ever en-
tered into, and that the much-applauded opera of the "Mountain
Sylph*' never brought the nightly expenses more than six or eight
nignts during its long run,*

There ! gentlemen scribes — what do you think of that ? Hence-
forward it will possibly be conceded, that the proprietor of a
theatre must be at least as good a judge of his own interests as
critics, or soi disant ' popular composers.' Some surprise may
also be excited at the part which Mr. Barnett thought proper to
take in the controversy of last May, in The Times, Meanwhile,
how goes on the ' Grand National Opera'?

Yours, &c.
• S. £•

THE ECCLESIASTICAL CHOIRS OF GREAT-BRITAIN
AND IRELAND.

In the early part of the year 1831, the Harmonicon commenced
a series of articles under the above title, which, much to the regret
of many, were soon discontinued, from a want of a sufficient
supply of materials, it is to be presumed, for the subject not only
interested every musical reader, but all inquirers into our Church
history; and the information proved of no small value to those
who think the present state of our choirs susceptible of improve-
ment, and likely to be benefited by a candid statement of their
present condition.

Quite sensible of the importance of the subject, in more than

one point of view, and jk>ssessing far more extensive and supeiior
means of information than, we conclude, the Harmonicon could
command, we have determined to complete what that excellent
work began; and, as a great majority of our subscribers' — ^perhaps,
five-sixths of the number — have not the Harmonicon in their pos-
session, we propose to republish the very few articles therein-
printed relating to the choirs — ^for they are as perfect as circum-
stances admit — and continue them from our own sources of intel-
ligence. We shall follow the plan of the work above mentioned,
and begin with the three metropolitan choirs ; then proceed to
the archiepiscopal churches of Canterbury and YoA ; and after-
wards go on, in alphabetical order, giving one choir or more,
according to the space the matter may filL The first article we
now insert in an entire state, and verbatim ; the introductory part
is too intimately connected with the rest to be omitted, and con-
tains information that cannot but be acceptable to those who have
not hitherto given much attention to the subject. The most
numerous and the best of our choirs is that forming part of the
Royal Household ; it ranks before all others, we therefore give it
precedence here.

No. I.— THE CHAPEL ROYAL.

About the middle of the fifteenth century, when figurate or
florid counterpoint had its origin, the monastic establishments in
this country were still the depositories and schools of every kind
of learning, of which music was considered an important branch.
It was studied by the priesthood generally, for on them devolved
the musical among other duties of the church, in which they were
assisted by choristers, who were not only instructed for this pur-
pose by masters, generally monks, well qualified for the task, but
had also a scholastic education bestowed on them, because, if at
all promising in morals and intellect, they commonly were, at the
proper age, admitted into the sacred profession.

Hence, previously to the Reformation, ample provision was
made for the singing-priests or chanters, and boys, both of which
classes were on a much superior footing to that of their lay suc-
cessors at a later period; and each cathedral thus became a kind
of school of music, where as much as was then known of the art,
in its application to the service of the church, was well taught.

On the suppression of monasteries and reform in religion, per-
sons not in orders were allowed to execute duties which till then
had been confined to the clergy ; and a different description of
people was thus introduced into the church, under the titles of
lay-vicars, lay-clerks, &c. Still the superior clergy acted with
moderation, and allotted to the inferior members of the church a
just proportion of its revenues. In time, however, the unresisted
power of deans and chapters tempted and enabled several of those
bodies gradually to appropriate the bulk of the endowments of
their establishments to their own use, leaving the subordinate
clergy in many instances, and the lay members almost invariably,
but a small proportion of those funds, of which the statutes of
nearly every cathedral entitled them to a much more equal and
reasonable share. Hence, the musical part of divine service in
such churches — and a very large and important part it is — ^is too
often so performed, as rather to repel than attract congregations,
and presents a lamentable contrast to the able and zealous manner
in which the corresponding duties are executed in Catholic
churches.

A correspondent, who furnished the Harmonicon with some of
the information concerning the state of our choirs, which had been
asked for, saw clearly one of the motives for instituting such in-
quiry ; and his remarks on the subject are so judicious and valu-
able, and so entirely correspond with our own opinions, that we
insert them in his own words.

* I trust,* he says, ' that the final object of your inquiry is to
place the service to which it relates upon that footing of dignity,
which its inherent nobleness claims for it. If you purpose throw-
ing out any animadversions upon its present neglected state, will
you permit me to point your attention to what I conceive to he one
of the most influential causes of its degradation? — the inadequate
manner in which the service is sustained on week-days. It is by
its antiphonal character that cathedral service is peculiarly dis-
tinguished ; but this character cannot be preserved when the
service is intrusted to less than six men besides the boys — i, e.
two counter-tenors, two tenors, and two basses ; a much smallei^
number, however, are permitted at most cathedrals six days in
seven. The lax attendance of .the choir is not only fatal to that
precision which constant attendance would beget, bat it ftumisbes

THE MUSICAL LIBRARY,

an excuse for giving low stipends; and low stipends can of course
command but a low degree of talent Now, if things were
leversed, and this divine service were expected to be worthily
performed, whenever performed — (is it unreasonable to expect as
much ?) — ^there would be a necessity for giving much higher sala-
ries, and higher salaries would bring into our choirs talent of a
higher order. Who can doubt that the choral service of the
Church of England would be one of the greatest feasts to be
enjoyed on earth, if it were performed by educated musicians
with that beautiful unanimity which would residt from their daily
practising together ? The Church of Rome owes much of her
influence, even in this country, to the wise attention which she
pays to the performance of her music ; and it is grievous to see an
unendowed sister surpassing us in a matter for which we are so
munificently provided.

* What I have observed relative to the choirs will apply to the
organists of our cathedrals, although they, individually, are gene-
rally men of talent. But the organ is often intrusted on week-
days to an assistant, who is sometimes just able to ^et through the
duty, and never clothed with authority to give htm weight with
the choir.*

We hope that the amelioration of the affairs of the church
which, it is evident to all who do not shut their eyes to the future,
is on the eve of taking place, will put our choirs into a better state.
. It is the interest of all dignitaries of cathedrals to increase the
attractiveness, to add to the influence of the choral service, and by
this, as well as other means, to win back those who have, not
wandered, but been driven away (by the inefficiency too often
witnessed) from those venerable fanes which are in themselves
almost sufficient to inspire religious feeling ; but if aided, as they
ought to be, by the aue performance of such admirable church
music as our composers of the sixteenth, seventeenth, and eight-
teenth centuries have bequeathed us, the union could not fail to
make the deepest impression, and excite feelings which every friend
to the establishment must wish were more common.

It may excite some surprise that, after having said so much of
our cathedral choirs, we should commence our series of notices
with a chapel, and that not a public one, in the strict sense of the
word. But the Chapel Royal is the most ancient choir in England
concerning which we have any authentic information, and is, as it
always has been, the fullest, best appointed, and least imperfect in
the kingdom. For this our old and admirable cathedral music
was, with very few exceptions, composed, and hence distributed
among the other choirs. To this Tallis, Byrde, Farrant, Orlando
Gibbons, Child, Wise, Blow, Purcell, Weldon, Croft, Greene,
Boyce, Nares, Dupuis, Arnold, &c. devoted their talents ; indeed,
if we exclude two or three of this number (who divided their labours
between the chapel and the stage), it may be said that the others
dedicated nearly the whole of their professional lives to the service
of this royal establishment. It will be admitted, therefore, that
its claims to precedency in the history of our choirs are built on
the strongest foundation, and are paramount to all others.

The earliest facts on record, relating to the King's Chapel, are
to be found in a book entitled Liber Niger Domus Regis, in
which an account is given of this establishment during the reign
of Edward IV. ; by which it appears that among the officers were
a Deank of the Chappelle, who was ' served after a barrone
service,* with a daily allowance of * iij loaves, ij messe of great
meate, a picher of wyne, two gallones of ale ; and for wintere
seasone one torche, one picher, ij candles waxe, iij candles piche,
iij talsheids*, lyttere, and rushes all the yeare of the sergante
usher of the hall and chambered . . . • He had also * lodginge
su%tyeute for his horse and his seruants in the toune or contrey.'
There were also Chaplenes, and Clerkes of the Chap-
FBLLE, xxiiij/ endowed with uirtues moroUe and specikatyue, as of
the musicke, shewinge in readinge, suffytyente in organes play-
inge^ syttynge at the deane's boarde.' The daily wages of each
was seven-pence. They had clothing allowed, and furniture for
their chambers ; with two loaves of oread, one ' picher* of wine,
and six gallons of ale ; and from All-hallow tide to Easter, two
wax candles, twelve of 'pich', and eight talsheids, amongst them
all, daily. Those who were priests had one servant each ; and
the others, one to every two ; besides stabling and keep for their
horses. 'And if any of thes be let bloode m courte, he taketh
daily ij loaves, one messe of great meate, one messe of roste, one
galone of ale: and when the chappelle synge mattenes ouer

• firewood cleft and cat into billeti of a certain length; each talahied (oi talwood)
being eiacteen inches in coinpaM.«-(Gptt«/.)

nighte, called Black Mattyneis, then they have allowed spice and
wine.* It is easy to believe that such a table of diet must
very much have promoted blood-letting, as well as singing of
mattenes over night

Of Yeomen of the Chappelle, called Pisteleres*, there were
two, who were chosen from amongst those children of the chapel
whose voices had recently changed ; and this -seems to have been
an intermediate step between the latter and the ' clerkes' above
mentioned. They had three-pence a day, with clothing, and other
allowances.

The Children of the Chappelle were eight in number, with
a ' Master of Songe' to teach them. They were boarded and
lodged in the royal palace, and had daily amongst them, * two
loves, one messe of great meate, ij galones of ale ; and for wintere
seasone, iiij candles piche, iij talshieds, and lyttere for their
pallets. . . . Also one servante to trusse and bear their harnesse
and lyverye in Court, And that day the King's Chappelle
remoueth, every of thes Children then present receaueth iiijcZ, at
the Greene Clothe, for horshire daily, as long as they be jurne-
inge. And when any of these children oomene to xviij years of
age, and their uoices change, ne cannot be preferred in this chap-
pelle, the number being full, then yf they will assente, the King
assynethe them to a College of Oxeford or Cambridge of his
foundatione, there to be at fynding and studye both sufiytyently,
tylle the King may otherwise aduance them.'

There was likewise provided a Master of a Gramere Schole
for the choristers and other persons of the court, so that the former
were not only instructed in music, but also received what in that
day was termed a learned educatipn ; a practice which continued till
the Commonwealth f.

The establishment of the Chapel Royal shortly after the Refor-
mation was as follows : Master of the Children, Richard
Bowyer, his fee 40Z. ; largesse to the children at high feasts,
9L I3s. Ad, ; and allowance for breakfast for the children, 16/.
Of Gentlemen of the Chapel there were 32, each at l\d. a
day. Among these were Richard Farrant, Thomas Birde (father
of William), Thomas TalUs, and William Hynnes. The organ
seems to have been played by such of the gentlemen, in turn, as
were qualified.

* Epistellers — ^readers of the Epistles.

t It was customary during the reigns of Edward VL and Elizabeth to presa boys
for the service of the Royal Chapel. Among those who suffered by this arbitrwy
mode of supplying the sovereign with treble voices, was Thomas Tusser, author of
the Five Hundredth Pointee of Good Hutbandrie; who, having had a fine voice, was
placed as a chorister, Warton tells us, in the Collegiate Chapel of Wallingford in
Berkshire, whence he was hnprested into the King's Chapel, and afterwards admitted
into the choir of St. Paul's, where he had John Redford, a famous musician, for his
master. He was next sent to Eton-school ; and altogether seems, Hawkins remarks,
to have had a sad time of it, as appears fit>m his own account, in his poem entitled
the Authob's Lifb: —

What robes how bhre, what coUedge fare I
What bread how stale, what pennie ale I
Then Wallingford, how wert thou abhord
I Of sillie boies 1

Thence for my voice, I must, no choice,
Away of forse, like posting horse ;
For sundrie men had placardes then
Such child to take.

The better brestS the lesser rest.
To serve the queer', now there now heer :
For time so spent, I may repent,
And sorrow make.

But mark the chance, myself to 'vance.
By friendship's lot, to Paules I got ;
So found I grace, a certaine space,
otill to remain.

With Redford there, the like no where.
For cunning such, and vertue much.
By whom some part of musicke art.

So did I gaine.
From Paulbs I went, to Eaton sent,
To leame straighte waies the Latin phnuesi
Where fiftie three stripes giuen to me

At once I had :

The fault but small, or none at all,
It came to pas, thus beat I was ;
See, Udall", see, the mereie of thee.

To me, poore lad I
To London hence^ to Cambridge theacfl^
With thankes to thee, O Tbimitib,
That to thy HaU, so passing* all,

1 got at kail.

There joy I &lt, there trim I dwdt, &c.

1 Breast, or voice, in which sense Shakspeare uses the woid.

t Quire, or choir.

3 Master of Btoa school.

THE MUSICAL LIBRARY.

At the Restoration, it appears from the Cheque-Book, the
choral establishment of the Royal Chapel consisted of Three
Organists, Edward Lowe, Wilham Child (Doctor), and Chris-
topher Gibbons (Doctor); a Master of the Children, Captain
Henry Cook ; a Clerk of the Cheque, Henry Lawes ; (!) and
nineteen gentlemen, among whom were Thomas Purcell, (father
of the great composer,) and Raphael Courteville, the only persons
in the Bst of whom anything is known. This number, however,
must afterwards have been reduced to twelve, for George I. on his
accession, by the advice of Dr. Tillotson, added four, thus 'augment-
ing them to sixteen.* The same monarch also added a lutenist and
vioiist, both of which are degenerated into salaried appointments,
without any duties being performed. The salaries at this time
were 701 to the organist and gentlemen, and 30/. for the mainte-
nance and teaching of each of the ten children. To the former,
31. were subsequently added, but the land-tax diminished the
income to less than 60Z., at which it still remains ! The master is,
by a recent augmentation, allowed 50/. for each boy.

There are now two composers and two organists, at the before-
mentioned slender salaries. Two of these, and eight of the
gentlemen, attend on the alternate months*. The duty, as at
present regulated, is twice on Sundays, on the high festivals and
fasts, on saints' -days, and on litany-days, during Lent. The
Dean, who is always Bishop of London, has the patronage of the
chapel, and the government of it is generally delegated by him to
the SuBDEAN, a nigh officer chosen from among the ten priests of
the chapel, who ought to be, as the present eminently is, well
skilled in music; for his recommendation of persons to do the
choral duties has great weight with the Dean, and the services
and anthems performed are appointed by him.

The following is a list of the present musical officers of the
King's, or Royal Chapel : —

r Thomas Aftvrood, Esq.
• • ' \ William Kny vett, Esq.

CoUPOfBOS

Oaoanists ,

/John Stafford Smith,
• • •\Sir George Smart

Mabtkr of thb CmLDRBN, William Hawes, Esq

Esq.

^ohn Stafford Smith
Samuel Heather ^

Jonathan Nield g

William Knyvett w

Thomas Vaughan P

J. B. Sale i

William Hawes ^

"T. W^elsh

ViOLiST Geor^^e Anderson.

liUTBNiST Charles £?aDS.

^Charles Evans
I William Salmon
I Richard Clarke
J Henry Mullincx
John Roberts
John W. Hobbs
Henry Goulden.
Fred. Hcmcastle.

At the close of these articles we hope to be able to show by
what means our choirs generally might be rendered much more
efficient, and how those of the metropolis are capable of becoming
the best schools of music in Europe, Germany excepted. With
this object in vieiv, we have invited, and still request, whatever
information the organists or other members of choirs can supply :
they are interested in' the inquiry, and we trust will contribute
such assistance as may be in their power.

GLOUCESTER MUSICMEETING.

The annual meeting of the three choirs of Hereford, Worcester,
and Gloucester, being the hukdued and twelfth, took place in
the latter city during the third week of September last. The per-
formances were on Uie 18th, 19th, 20th, and 21st, in the Cathe-
dral, and in the Town-Hall, as heretofore. The principal per-
formers, both vocal and instrumental, were, generally, those who
had been at the great York Festival," whence they had hurried, in
somewhat more than double-quick time, to be ready for the re-
hearsal at Gloucester, on Monday the 17th. But though the
elite of the York orchestra were engaged on this occasion, the
performers did not reach half the number that attended the
Korthem celebration. ,

Of the music performed, it may safely be asserted that five-
sixths, at least, is to be found in the York programs; and we
mention this without designing to censiu'e, either directly or indi-
rectly, the selections. Whatever draws company and meets
general applause in London, is as a matter of course repeated in
the provinces, where by far the greater number visit the metro-
polis rarely, and naturally enough wish to hear that which has

* In point of fact, eight attend one xnonthi and seven the other ; for the tenioi
gentleman, who is called the Faiher of the Chape/, is excused from all duty.

received |he sanction of metropolitan audiences. But though ma-
nagers are quite right, as far cis prudence is concerned, in their
choice, the duty of criticism becomes rather irksome under such
circumstances, and the writer, while engaged in his task, cannot
help suspecting that his readers will be equally weary of remarks
which must often closely resemble those frequently before made^
in mentioning the very same compositions performed by the very
same persons.

Under these circumstances we shall state generally, that the
music at the late Gloucester Meeting was well selected, ably ex-
ecuted, and gave entire satisfaction. Though some of the grand
choruses wanted that power which vast numbers alone can com-
mand, and which we now almost think ourselves entitled to ex-
pect, yet many pieces were performed with an effect — with a deli-
cacy and truth — ^that they have wanted elsewhere ; at York parti-«
cularly, where, by placing part of the orchestra under a reverbe-
rating tower, a confusion often ensued that proved most distressing
to the performers, and quite fatal to the music.

The statement of the result of this meeting, considered in a pe-
cuniary point of view, is not so favourable as could be wished.
The receipts were 2700Z., while the expences amounted to 3200/.,
leaving a balance to be provided for by the stewards, of 500/.
These meetings^ however, are considered as county business, and
the gentlemen who act are not frequently called on to assist, either
by their counsel or with their purse. This account of receipts does
not include the sum of 666Z. collected at the Cathedral on the ser-
mon day, because what is given on that occasion is always pre-
sented to the charity without any deduction :-:-it never is taken in
as part of the general account.

THE YORK ORGAN.

In the year 1829 the interior of the choir and chancel, together
with the roof, of York Cathedral, were destroyed by fire. The
incendiary proved^to be a lunatic, who, after his trial, was sent to
St. Luke's, where, if alive, he still remains. The fine old organ,
the dimensions of which had from time to time been augmented, till
it became the largest in the kingdom, was utterly destroyed in
the lamentable conflagration ; a loss especially regretted, for it
was by no means certain that the instrument could be replaced by
one equally excellent, while the restoration of the wood-work,
carving, &c., was not at all a matter of doubt. This organ con-
tained 52 stops, 3254 pipes, and three rows of keys, 60 notes in
compass, with two octaves of pedals.

When the repairs of the structure were completed, a new organ
was erected. Of this — intended as a present from the Honourable
and Reverend John Lundey Savile, the cost of which amounted,
we understand, to four thousand pounds — we now are about to
give some account *.

The organ stands on the choir screen, spreading over the whole
of it, and also occupying the space between the two screen walls
and the two first arches in the side aisles. The width of this
magnificent instrument is 70 feet, and its height b in proportion.
The c c c c pedal pipe of metal, 32 feet in length, stands in the
south aisle. The c c c c pedal pipe of wood is placed in the north
aisle. The sound or note rendered by these pipes is three octaves
below c, the second space in the base. The wood pedal pipes
are on the north side, the metal pedal pipes on the south.

This organ has three sets of keys of six octaves each^ from 16
feet c, to c in altissimo ; or in other words, from the lowest to the
highest c of the most modern grand piano-forte. The two octaves
of pedal pipes are from cccc to cc: that is, from an octave
below the lowest c on the same piano-forte, to c the second addi-
tional line below the base. The great 32 feet metal pipe is 20
inches in diameter ; the great wood pipe is 27 feet long, by 3 feet
wide, and 2 feet 6 inches deep. This, the builder boasts, would
contain no less a quantity of wine than twelve pipes and two
gallons ! Three pairs of bellows, whose surface is 351 square feet,
give wind to this vast machine, — a piece of gigantic mechanism to
which even a sour covenanter — were one to rise from his grave
—would hardly be bold enough to degrade into a ^ kist fii' o*
whistles.'

There are in this instrument 56 stops all through: — 24 to the
great organ, 10 to the choir organ, 12 to the swell, and 10 to the

* It appears, from the pamphlet by a LooKBaK>N, noticed in our Review depifrf-
ment, that this gentleman died befiore the organ was paid for, and left no instmctiont
to enable his executors to fulfil his intentions.

THE MUSICAL LIBRARY.

pedals. To these are to be added, 6 copula stops^ and 7 com-
position pedals. The total number of pipes is 4200 ; and there
are 60 complete ranks of pipes through the manuals.

The following is a list of the stops in this organ, with the
lengths of the lowest pipe in each stop.

SWELL.

Trumpet •
Clarion •

Oboe

French Horn
Comet •
Principal' •

Lngth cflouut pive.

8 feet

• do
• do

. do
5 ranks

• 4 feet

Dulcet (wood) .
Claribella (wood) .
Metal open diapason
Stop{)ed diapason .
Dulciaua (metal)
Dulcian (wood)

CHOIR ORQAN.

Clarinet • • • .

Cremona, with bassoon base

Octave flute • • •

Fifteenth

Flute (stopped) .

Trumpet .
l>o .
Cymbal .
Sesquialtera •
Flageolet (wood).
Fifteenth ,
Twelfth
Principal .
Harmonica (wood) .
Front metal oj)en diapason
Inside do do .
Stopped diapason (metal)

8 feet
16 do
4 do
do
do

Principal (metal) •

Principal (wood) . •

Dulciana

Open diapason (metal)

Diapason, stopped •

Lenglk oflount pipt,

4 feet

• .do

8 feet

. 4 do

8 do

• • do

8 feet
do
16 do
do
8 do

GREAT MANUAL.

16 feet
. do
4 ranks
. 3 do
4 feet
do
. 6 do

8 do
do

16 do
do
8 do

Shawm • • •
Clarino • • .
Comet . • . •
Mixture • • •
Piccolo (wood) . .
Fifteenth • • •
Twelfth
Principal • • •
German flute

Front metal opendiapaM>n
Inside do do •

Wood stopped do •

TBN PEDAL STOPS. Two Octaves each.

32 feet
16 do

Double metal open diapason

Do metal principal .

Do wood c^n diapason • 32 do

Do wood principal . . 16 do

Subbass • (stopped, two mouths) 8 do

Double base diapason
Sacbut (wood^ reed stop)
Fagotto (do do )
Trombone (metal do) .
Base horn (do do)

16 feet
do
4 ranks

3 do

4 feet
do

6 do
do
8 do
16 do
do
8 do

16 feet
32 do
16 do
32 do
16 do

The builders of this splendid instrument are Messrs. Elliot and
Hill, of Tottenham-Court-Road ; and the merit of having been
the means of obtaining the promise of so magnificent a present
is due to Dr. Camidge of York. It must not, however, be for-
gotten, that in planning the organ, and in its arrangements, the
late Mr. Greatorex took a very active part.f

REVIEW.

A Few Thoughts on Musical Festivals, their uses and abuses, by a
LooKER-ON at York. (London, Seguin, Regent- ?treet.) 1835.

The late celebration at York has been productive of much angry feel-
ing, manifested not only in conversation, but in newspaper letters,
criminative and recriminative. One of the managing committee, not
satisfied with agitating the private societies of his county with the
subject, endeavoured, in a communication addressed to, and pubh'shed
by, a widely-circulated London journal, to excite an interest in the
dispute beyond the precincts wherein it ought to have been confined,
but failed in the attempt

The pamphlet now under consideration is an attack, general and
particular, on the management and conducting of the recent festival in
the north, and, as is too usual in such cases, some error is mixed up
with some truth. It appears to us also, that the author is not wholly
devoid of personal feeling in the business : the last few pages seem to
betray disappointed expectations. If bo, hinc ill<e lachrymtB. But
we may be mistaken.

The fatal blunder committed at York was the placing the orchestra
under the great tower, to which act, only to be accounted for in one
way, is, we are persuaded, to be imputed much pf the irregularity that
occurred in the choral department. Half the effect of the full pieces
was lost at the late performances in Westminster Abbey, owing to the
fittings-up of the church ; and in both cases the conductors must bear
the blame. Either they were unacquainted with the common principles
of acoustics, therefore unequal to the duties they undertook to perform,
or they yielded their better judgments to committees of great persons,
and thus proved deficient in the necessary qualities of independence
and firmness. That the chorus at York had not been suflBciently
drilled, was occasionally obvious ; and it has been stated that some pre-
judicial favouritism was exhibited in the choice of the individuals en-
gaged. Of the justice of this charge, or the facts on which it is
founded, we know nothing; but are well aware of the mischievous

* By this term we presame Sub-hau is meant.

t Mi. Oreatorex was not a mere musician ; bis mind was well endowed with
various knowledge. He was a scientific mechanic, and to his philosophical knowledge
he was solely indebted for his election into the Royal Society.

influences, of various kinds, which operate so powerfully in this country
upon almost every occasion.

The LooKBR-oN complains, and justly, of the low terms on which the
chorists were engaged at the late festival. They were, he says, • cut
down to prices which, after wallting long distances to and from York,
would scarcely afford bread and cheese for subsistence, or a hovel for
shelter.' This is to be deplored ; but the economising process generally
begins at the wrong end in England : and the truth i8, however much
to be regretted, that the Grisis, Rubinis, and Lablaches, who swallow
up such enormous sums that all otiiers are more or less pinched, are the
main attractions at all our provincial music-meetings. The time is fast
approaching, but not yet arrived, when grand choral and instrumental
effects will have more charms for a general audience than a frivolous
aria, or a chattering duetto, in a language not understood by one in a
hundred of those who almost scream with pretended delight, and affect
to be in extacies, at nonsense which they value in proportion as it is
expensive.

The author is far from civil to the conductors of the festival, Mr.
Knyvett and Dr. Camidge. Of the latter we can only judge from
report, which speaks highly, and we believe justly, of his professional
merits. • Mr. Knyvett's character as a musician stands so high in the
estimation of those who know him, and are capable of judging, — ^his
knowledge of the classical masters is so extensive, his taste so refined,
his judgment so correct, and his experience so great, that any insinua-
tion of his incapacity to conduct a musical festival — so far as the
selection and actual' performance are concerned — will be treated with
contempt by all who are entitled to entertain an opinion on the subject.
At York he was as much perplexed by the confusion arising out of the
situation of the performers, as they themselves were : and none in his
situation could have felt otherwise. However, we repeat, that he
ought to have foreseen the evil, and protested against such an arrange-
ment. Whoever witnessed the performances at the last great Bir-
mingham Festival, where the conductor had not such an insurmountable
difficulty to contend with as at York, had a proof of Mr. Knyvett's
skill in his important department ; and the frequenters of the Ancient
Concerts will bear testimony to the able manner in which he has filled
the chair at these performances, from the day lie was first placed in it
He may not occupy his time in going through the drudgeries connected
with orchestral arrangements : for aught we know he leaves these in
proper hands, in the hands of the copyist, whose business it is to make
up books, lay them out, &c. : he soars higher, he studies how to fulfil a
composer's intentions, how to place him in the most favourable light, to
set him off with those advantages, and aid him with those accessories,
which recent discoveries and improvements supply. Mr. Knyvett has
a true feeling for his art, he has nothing of the mechanic in him ; but
he is, and from his childhood has been, connected with the Ancient Con-
cert. To this circumstance, we suspect, is to be traced the hostility di-
rected against him in the present pamplitet.

That excellent institution, the Concert of Ancient Music, the writer
describes as ' a community who have neither ** achieved greatness," nor
(certainly) ** had it thrust upon them ;" but,' he says, • they have been
allowed (perforce) to control, to an immense extent, the arrangement ef
almost every meeting for the last century.'. . . • This society, insolvent,
with an income averaging six thousand guineas per annum, with an
influence, through its members, which might have given celebrity where
due, has been uniform in its patronage of mediocrity, the obstruction Of
eminence in both art and science, and the promulgation of twaddle.*

Whether such gross misstatements are the offspring of malice or
ignorance, we cannot pretend to determine ; but we do know that, how-
ever viewed, they are highly discreditable to their author, and serve as
an index to the spirit in which the whole pamphlet is written*. The
Ancient Concert was established when music was at its lowest ebb in the
superior classes of society — when the Cocchis, the Ventos, and compo-
sers of the same calibre, had got possession of the Opera-house, and the
private concerts of the beau monde teemed with trash, compared to
which the productions of a Fioravanti, a Morlacchi, a Pacini, &c.
meagre as they are, have a claim to be ranked as almost classical. To
the Ancient Concert we are indebted for the commemoration of Handel
in 1784, whence sprang nearly all those provincial music-meetings
which have diffused a taste for music, and of the best kind, over the
whole country. It has proved a bulwark against the frivolity and caprice
of fashion, and sustained the art in England till it gained the strength it
has now acquired, to which it has been growing during the last twenty
years. The Ancient Concert has existed little more than half the period
assigned to it by this extremely rash writer; — its receipts have not
averaged four thousand guineas : — it never was insolvent, for in those
few years when the expenditure exceeded the income, the directors, or the
' community,' as they are here called, took the excess on themselves.
Are the late Mr. and Mrs. Harrison, and Mr. Bartleman — are Mrs.
Salmon, Mr. and Mrs. Vaughan, and Mrs. W. Knyvett, all of whom were
first brought forward and have always been protected by this 'community',

* We have given the name of the publisher of the pamphlet, as it appears in the
title-page ; but Mr. Seguin, on examining its contents, immediately returned every
copy, except one which had been told^ to the printer^ refusing to assist in its circu-
lation*

THE MUSICAL LIBRARY.

proofs of its * patronage of mediocrity T Or will the late Mr. Crosdill
and Mr. Holmes, the present Mr. F. Cramer and Mr. Lindley, who may
be said to have been educated in the Ancient Concert, be cited as
instances of its mistaken support ? — Is the immediate engagement at
the Ancient Concerts of every great foreign singer that ever entered this
country, from Mad. Mara down to Madle. Grisi, any evidence of the
* obstruction of eminence* in the art ? — Is the performance in the most
admirable manner, of the music of Handel, Purcell, Geminiani, and
many others — ^the recent introduction of that of Haydn, Mozart, and
Beedioven — ^the constant use made of the best madrigals and glees — is
the production of all these to be set down as the ' promulgation of
twaddle V — Fie on it ! — we are almost ashamed of having bestowed a line
on such unfounded, stupid abuse.

What the author says, respecting the appropriation of the profits
arising out of this Festival, is more worthy of attention ; though he ex-
presses himself in this part of his pamphlet, and indeed throughout, in
language which shows that he is but little skilled in literary composi-
tion. With his remarks on the above subject, we shall conclude the
present notice : —

' A squabble of a personal kind, between two heads of the church,
has reduced the intended triennial meeting to a septennial one. This is
of itself no trifling evil, in a local political view, when the immense out*
lay, by those who can afford it, among those who want it, is taken into
consideration. When we consider that the proceeds likewise went to the
maintenance of charities of the noblest sort, the decrease of means of
solace to the sick and maimed may surely be deemed criminal, more
especially in those whose calling is the peculiar advocacy of good works.
It is still further mortifying to find, that when, at length, " a slow con-
sent was wrung" from the party for the celebration of a fourth festival,
that *' the appropriation of half the profits to tlie Minster Restoration
Fund" was made a sine qua rum/ To a large number of zealous sup-
porters of general charity, this was an astounding stipulation, and pro-
duced many instant resolutions of absence from the meeting. To a less
. rigid class the '* Restoration Fund" was an alarming, because indefinite
term, and appeared to establish a precedent, which a specific object
would have obviated. Had the payment of the builders of the new
organ been avowed as the real object, less alarm would have been felt,
whatever regret might arise from the (in some points capricious) extra-
vagant cost of an instrument, carried on in implicit reliance upon indi-
vidual liberality, without reference to the contingency obnoxious to all
sportsmen, and which, at the age of seventy-four, occurred to the Hon.
and Rev. Prebend, namely, brc^aking his neck during ** a delightful run
in a fine sportinir country." The loss sustained by the church in a
highly-esteemed dignitary was aggravated upon this occasion by the
total omission of directions to his Lordship's executors as to payment
for this magnificent ^ whistle." What steps the builders may have
taken to secure themselves from loss is foreign to the present inquiry,
further than in reference to the cause which has taken fifty per cent,
from suffering humanity to be transferred to *' The Minster Restoration
Fund!*"

The GKnuofJine Piano- FoatE playing, to assist Masters in forming
Pupils, &c. By J. D. Rohlffs. (Wessel and Co.)

This is a book for beginners. The author commences by stating, that
' of the number of persons who study the piano-forte, few are capable of
producing any thing worthy the name of music. This deficiency may
DC mainly attributed to the want of good elementary teachers,' &c.

To the scarcity of good teachers, the paucity of good players^ as well
as of *' producers ' of music, is, past all doubt, to be in a considerable
measure imputed. To play well, and to instruct well, or even to be at
all capable of instructing, are two very different things. To teach well
requires not only knowledge, but a cJear head, a certain command of
language, a power of discriminating character, good temper, and much
experience. How often are these qualities united in the same person? —
Perhaps in one teacher in twenty. Many masters are skilful perform-
ers, and blessed with a serener temper, but experience requires time ;
and as to the other requisites, the education of a musician, alas ! rarely
is such as leads to them.

But next to the difiUculty of finding a really good teadier, is to be
mentioned the difficulty of meeting with a good instruction-book. Those
who compile works of this kind have, too commonly, but an imperfect
notion of methodising, are incapable of clear definition, and lay down rules
in language generally faulty, and often unintelligible. The present
work is, on the whole, written in a better manner than we are accus
tomed to in such publications, but to method it has no pretence. The
learner has lines and spaces, clefs, marks of time, &c., placed under his
view, before he is told what any one of them signifies. Indeed, in-
credible as it may seem, if the words line and space are introduced at
all, in any part of the book, they have escaped our notke. We, how-
ever, have the term tetrachord in an early page. This, presuming that
the child is speedily to begin reading Aristoxenus, Alypius, Boethius,
and the rest of the septem auctores collected by Meibomius, will prove
useful ; but, unless he is to study the Greek modes before he has be-
come acquainted with the character of a sharp or a flat, we cannot for

the life of us discover the utility of his plangmg into the system ^f
tetrachords. Apropos pf sharps and flats. The order of these, it is
generally supposed, ought to be well known, but our author — no servik
follower of established system — never even alludes to the subject ; nay,
he inserts lessons with hw^ of the one and six of the other at the clef
before he says what a sharp is : and as to the flat, it is lefl unexplained
till we arrive at page 35. Throwing off with the same disdain the
shackles of custom, he gives no table of notes, no time-table, but
carefully points out the different figure which the Germans and English
bestow on the crotchet rest

Having introduced the tetrachord to the pupil, it was but just that he
should be allowed to make the acquaintance of some other ancient
character; accordingly the lozenge note is placed in his* way, which,
though not boasting of Greek antiquity, was in use four hundred years
ago, and may now be found in the British Museum, as well as in other
collections where missals and such-like works are preserved. The
author al6o gives place to this note according to its chronological rank,
for it appears, doubled, tripled, and quadrupled, before the existenoe of
any one musical character of modem date is hinted at. •

There is an air of authority prevailing in this publication which has
induced us to bestow more attention on it than we should have done, had
it pretended to less ; and we are compelled to say, that it does not
appear, to have the slightest chance of that success which the writer is
sanguine enough to anticipate. From the name of -the author we con-
clude that he is not a native of this kingdom. This will be some excuse
for the want of punctuation throughout, the constant omission of the sign
of the genitive case, and occasional false orthography. But a work
intended for the use of young people should be correctly written and
printed ; and though none can be expected to be master of a language
not his own, yet whoever ventures to publish ought to procure such aid,
previously to his appearing in print, as will guard him against those
palpable errors which are not easily pardoned.

GaANn Fantasia and Brilliant Variations for the Piano-Forte, in
which is introduced 'See the conquering hero comes', composed
by J. Cohun. Op. 8. (Cocks and Co.)

The two or three compositions by Mr. Cohan which have fallen in
our way, lead us to suppose that he takes as his model M. Czemy's
wildest effusions ; that he imitates his extravagancies, aims at his diffi-
culties, but fails in exhibiting any of those traits of eenius, which
occasionally, though rarely, are distinguishable amidst the mas^ of
absurdity that he of Vienna produces. To call this a Fantasia is Co
mistake the meaning of the term ; it is an air with variations, and an
introduction, the latter occupying five pages, the former thirty ! and ^ve
and thirty pages of more noisy emptiness we seldom have laboured
through ; we do not meet with a single redeeming passage. Even the
subject itself is damaged in passing through its present hands. Mr. Cohan
thus gives the two first bars of the second strain ; —

'111

i^^^^^

J— y-i

^={i-

a^g

and thus we get two very disagreeable raw fifths, one imperfect we
admit, which might have been avoided by adding the seventh on the Bf.
Handel first writes the passage thus, in three parts —

H==§P

Then at follows, in four parts

M=T^

:j^

THE MUSICAL LIBRARY,

Mr. Cohan differs twm Handel! The reader has here an opportanity
of becoming umpire between the parties.

Fantaisib, pour Piano et Violin, sur des motifs du Comie Ory^ par
C. DB Beriot et 6. A. Osborne. (Chappell.)

This is really what it claims to be, a fantaisie, being made up of airs
freely treated* their final cadences altered as circumstances required,
and combined together, forming one continuous piece, the movements
of which change without any break in the time, except an occasional
pause of little more than momentary duration.

The airs in the opera» Qymie Ory^ never had many charms for us,
though they are more agreeable in the present instrumental form than
in their vocal state, — they are more brilliant; and M. M. de Beriot and
Osborne have, by amplifying them, diminished the mannerism which
is so apparent in their original shape. This does not come under the
description of a difficult composition for either instrument, according
to the modem interpretation of the term, though we do not mean to
lead our readers into a belief that it is calculated for the multitude.
The airs are well selected, and adapted with taste and spirit ; the whole
is lively, well kept up, and whenever well played this piece will have the
majority of suffrages in its favour.

' Rendez-moi ma patrie,' the Romance in Herold's Opera^ Le Pr^
aux Clercs, arranged as a Rondo for the Piano-forte, hy C.
CzERNT. Op. S0(>. (Mori & Co.)

The subject of this is one of Herold's most pleasing airs, which M.
Czerny has converted into a rondo, moderate in length and style, and
not exacting any greait powers of execution. In parts there is much
elegance, but the high, tubby notes of the instrument are too often called
into requisition, — a vice of the present day, — and triplets of semiquavers
are so abundant, that the ear is thoroughly weary of ihem long before the
final double bar brings repose. We however hail this, as well as a few
other compositions by M. Czerny lately published, as Indicative of a
change in his own taste, or in the taste of music*buyers. By the time
be has achieved his opera 400, he, perhaps, may have become perfectly
reasonable: and^ according to the rate, the almost comet-speed at
which he has been going for some years past, he will soon arrive at the
number we mention.

March in 'Robert le Diable,' being No, 1 of Marches of the Ist
Vienna Regiment, arranged for the Piano-forte, by J. Strauss.
(Chappell.)
This is the veriest bagatelle possible, and only noticed here for the
purpose of saying that M. Strauss is now the Magnus Apollo of the
Austrian capital : his waltzes, quadrilles, galopades, &c., have more
charms for ' all the beauty and fashion of Vienna' than the works of
any composer, ancient or modern. Musical taste in the south of Ger-
many is much on a par with that in Italy ; it is impossible to adduce a
stronger proof of its degeneracy.

Overture «n<2 Airs from Auber's Fra * Diavolo,' orra/i^ed /or Vie
Flute, by Wm. Forde. (Chappell.)

An overture for the flute alone ! — ^well — ^there no doubt is a demand
for such contrivances, or they would not appear in the market. There
are besides ten airs, &c. arranged in an easy agreeable manner, and the
work is neatly printed in eleven quarto pages.

VOCAL.

1. Cavatina, * Deh ! vieni, mio bene,' in the Opera o/Buondelmonte,
composed by Donizetti. (Chappell.)

2. Dubttino, ' Se credi ch'empia sorte,' for soprano and contt^aUo^
composed and published by the same.

This is the first intimation we have received of the existence of such
an opera, and, judging from the present specimens, it is likely that
little more may be heard of it in this country ; unless indeed its very
feebleness should recommend it to the King's Theatre. Both the
above may suit those drawing-rooms where whatever is jejune, smooth,
and without the semblance of a new thought, is acceptable, The first
can never have been denominated a caoatina by the composer, for, as
an Italian, he surely knows what the term signifies.

1. Duet, *The wandering wind,'/or soprano and contr^allo, foritten by
Mrs. Hemans, composed byJoHS Lodge, Esq. (Chappell.)

2. Ballad, * The Slave Trade,' ning by Madame Vestris, in The Two
Queens, written and composed by Samuel Lover, Esq. (Andrews,
167, New Bond-street.)

3. Song, ' Come to the fairy dell,' composed by John Thomson, Esq.
(Chappell.)

4. Ballad, 'Sympathy,' the poetry 6^ Bishop Hebbr, ike music by
John Daniel. (Edinburgh, Wood and Co.)

5. Song, * Summer and Winter,' the words by T. H. Batlt^ Esq., the
music by John Ba&nstt. (Chappell.)

6« Song, ' Wilt thou be my bride?' wriUen byT. Et. Batlt, Esq.t
composed by Alexander Lee. (Chappell.)

No. 1 is easy, flowing, and runs chiefly in those thirds which are so con-
solatory to singers who are not ambitious of encountering difficulties ;
though the key, b, and an occasional double sharp, will be apt to alarm
very nervous people. The duet is elegant, and will certainly find many
admirers.

No. 2 is one of those comic airs to which the fairest of singers, and»
we had almost said, the best, gives such irresistible effect. Venus (well
represented by Madame Vestris) determines, in spite of acts of parlia-
ment, to carry on a slave-trade ; but she will deal m men politically free,
who not only voluntarily, but eagerly, submit to the silken fetters, — who
labour for the sweet harvest of love, not that of the sugar-cane. ' Venus,*
says Mr. Lover — (no' pseudo7iyme^ we can assure our readers) — ' is an
insurgent by birth,' and opposed emancipation the moment she rose from
the sea. —

0*er the world, from that hoar of her birth,

She carried her slave-trade irictorious,
And then to her daughters of earth

She entrusted her privilege glorious.
' UnfetterM, she cried, ' never leave

' One slave to object to your brave trade ;
' While you stand to your colours, believe,

* You may always insist on your slave*-trade.'

No. 8 is lively and pleasing, but we do not find in it any of those ori-
ginal traits which mark so many of Mr. Thomson's songs.

No. 4i — Bishop Heber's well-known humorous verses set to music —
is gay and well accented, but we have in vain searched for a phrase, ca-
dence, or anything else, that can be called new.

No. 5 is perfectly unobjectionable, both as to the composition, and to
the setting of the words ; the air too is pleasing : but this is only a
slight, an almost imperceptible modification of what has been written
over and over again.

The merit of No. 6 is, that it does not pretend to the fashionable
foreign style ; it is an English melody, and, if not original, is agreeable.
We ourselves have extracted some pleasure from Mr. Lee's present song,
and believe that it will afford no less to those whose tastes are in an un-
sophisticated state.

FOREIGN MUSICAL REPORT.

WEIMAR.

Our muse has not been totally silent during the last summer months,
for although our >tage and orchestra were closed, and most of our
artistes had betaken themselves to their travels, M. H&ser, with the
means in his power, continued to perform some excellent sacred music.
The public attention was greatly drawn to this branch of the art by six
lectures given by the venerable M. Rochlitz, from Leipzig, *0n the his-
tory of the Vocal Art during the last three centuries.* Rolle, llasse,
Fasch, Graun, Naumann, Uaydn, Mozart, Beethoven, Hummel and
Spohr, were the heroes of his discourse ; the works of these masters he
expounded in an excellent manner, and illustrated his lecture by the per-
formance of distinguished, and frequently rare, pieces of music. These
were sung by M. H&ser's Vocal Union and some amateurs with remark-
able precision^ and when we consider the short time allowed for study-
ing, tnat precision was truly wonderful. We cannot be too grateful for
these endeavours in favour of religious music. M. Rochlitz was, we
believe, the first to whom the happy idea occurred of illustrating histo-
rico-musical lectures, by actual performances.

AMERICA.
[The following speculations concerning the birth-place of Paganini —
some grave, some turning gravity to farce — have appeared in the Ame-
rican journals whose titles are appended.]

Paganini is said to have acquired a fortune of 7,000,000f. The fol-
lowing singular controversy has taken place in the American papers re-
lative to the birth-place of this distinguished personage.

• The editor of the New Bedford Gazette speaks of Paganini as *' The
celebrated Irish violinist." If our reminiscences of musical biography
are not at &ult, the Gazette is mistaken. Paganini is a native of Nova
Zembla, we believe. N.B. The Gazette and ourselves are both mis-
taken ; the great fiddler is an Italian.' New Fork Courier and Enr-
quirer.

• Very well, very well indeed ! but Paganini is a Sicilian.' New York
Times,

' Not ouite right yet. Paganini is a Corsican, therefore a French-
man, on tlie authority of Napoleon.' New York Commercial Advertiser.

• Guess again, Mr. Editor, for you are as much out of your way as
your brethren whom you have posted above. Paganini is a Genoese,
that is to say, if his own account to the writer of this, in 1832, in Card's

THE MUSICAL LIBRARY.

music-shop in tlie Quadrant, Regent- street [London], is any authority/
Sunday Morning News.

* All nonsense this. For the information of the editor of the New
York News, we consider it our duty to state, that Paganini was born at
Lynn, in Massachusetts. He is tlie son of a poor woman who made
shoes for Mr. Mudge in that town for many years/ Boston Gazette,

* Well! gentlemen, quill-drivers and learned Thebans all, are you sure
that there is such a person in existence as Paganini ? But we suppose
you'll all reply, ** Yes, Miss Watson will swear to tliat.'* Miss Wat —
son, indeed ! Now we should like to know what — son of his mother
would swear to any such thing. No, no, gentlemen, Boeotians all.
Pagan — ini is a Pagan, as his name implies, and was bom among the
land-sharks along the Jersey shore, near Crab-town.* Philadelphia
Evening Star,

THE DRAMA.

Our theatres are undergoing a great tliough gradual change : the
operation is slow, but the result certain. The two immense houses will
probably be confined to melodramas, music, and spectacle : the legiti-
mate drama, as it is called, will, let us hope, fix its residence in a
building of comparatively small dimensions— one admitting of hearing
as well as seeing — exclusively appropriated to it ; and farce, vaude-
villes, or comic operettas, as well as smaller pieces of all descri]itions,
will naturally settle in the minor theatres. Ail this implies, what are
now general with one exception, low prices of admission.

The new lessee of Covent Garden has had the wisdom to reduce his
terms already, though we doubt whether five shillings and three would
not have been better than those he has adopted. Prices of ail things
are going, or are gone, to what they were forty years ago, and it
appears to us that this might have been the rule of theatres. Drury
Lane continues unmoved, but the chances are that it must ultimately
yield. A Sunday paper, of the conservative kind, is very lofty on the
subject, — talks of shillings as if they were maravedis ; but however grand
and aristocratic the editor may affect to be, we can tell him that many
a gentleman of moderate income will take his family — say of 6i;c
persons — ^to the play, at a cost of four-and-twenty sliillings, who would
not dream of such an indulgence at the expense of forty. And there are
thousands of persons quite as respectable, in every sense of the word,
as the advocates of high prices, who will gladly and often pay a couple
of shillings for an evening's entertainment, but will flinch from an
expenditure of nearly double the sum.

Drurt-Lanb Theatre

opened on Thursday the Ist of October. The interior has been painted,
and the decorations refreshed ; additional room has been afforded the
orchestra, and a new drop curtain has supplied the place of that which
was indeed past mending.

On Tuesday the 6th ult., a ' New Grand Operatic drama,' entitled
Cavaliers and Roundheads, was produced. This is founded on Sir
Walter Scott's Old Mortality, whence all the characters, and the chief
incidents, are taken ; though these are transposed, and sometimes dis-
torted, so as to suit the nature of a theatrical representation. The drama
opens with the country people carousing in the change-house of Niel
Blane, the piper, on the day of the quarrel between Morion and Serjeant
Botkwell, and the wrestling-match between this bold dragoon and Bal^
four of Barley. Then follows the scene at Tillietudlem, where Morton
is condemned by Claverhouse, but saved by the intercession of Lord
EvandaUf and this is followed by the defeat of Claverhmme^s troops.
The most striking feature of the second act is the battle of Bothwell-
brig : and in the third act is the appallmg scene where Morton is in the
hands of the Covenanters, and about to be put to death. There is some
want of coherency in the whole ; but the dramatist has much to do in
little time, and cannot enter into details which are so interesting in the
hands of a good novelist.

The music consists chiefly of Scottish airs, sung pretty well by Miss
Healy, though they were, most of them, * lugged in neck and shoulders/
according to the phrase. The introduction, from / Puritanic of the po-
lacca, * Son vergine vezzosa,' exposed the singer to a comparison highly
detrimental to her. But theatrically considered it was still more unpar-
donable. In the Italian opera it is an outbreak of joy : here it is intro-
duced at the moment when the life of the singer*s luver is dependent on
a single word ! In Bellini's opera, too, is a duet, a very loud one cer-

tainly, sung, at the full stretch of their voices, by Signori Tamburint
and Lablache : now it is given to Messrs. Seouin and Giubilbi, and
being apropos de rien, people wondered how it came to pass that it was
so impertinently introduced. The piece succeeded, though it is much
too long ; a fault which doubtless will be corrected. At the very close
of the month, the much -vaunted opera by Mr. Balfe, The Siege ofRo^
chelle, will have appeared.

Covbnt-Garden Theatre.

Tliis very elegant house commenced its season on Monday October the
19th, at the very greatly reduced prices of four shillings for the boxes,
two shillings the pit, one shilling the lower gallery, and sixpence (!) the
upper. Half-price not to be taken at either gallery. No alterations or
repairs of any kind have been made, nor were any needed, but a showy
allegorical, drop curtain has been painted for the occasion, which much
puzzles some of the spectators between the acts.

The house was crammed to suffocation on the first night, and con*
siderable disorder was the consequence. Some persons forced their way
into the private boxes, and all who suffered from the extraordinary, the
alarming pressure, were, naturally enough, very clamorous. The per-
formance was continually interrupted, till Mr. Wallack came forward
and offered admissions for any other night to such as might wish to re-
tire, adding, but not in a menacing tone, that the police were ready to
prevent any breach of the peace. This allayed the tempest. * God save
the King * was sung, but an a most inglorious manner. One, named
Collins, came off woefully, in a stanza which his vanity led him to think
he could much improve. The rebuke he received was severe and deci-
sive. Hamlet was then performed, in which Mr. C. Kemble was, as
usual, great; and Miss Taylor as Ophelia, if not absolutely perfect, af-
forded great satisfaction. But as it is not our intention to travel out of
the bounds of the musical drama, we shall only add, that previously to
the performance of the tragedy Miss Taylor delivered with great spirit,
an Address, in which the manager avows his independence and declares
his intentions in the following lines. He tell us that he is —

Resolved, by zealous effort, to tnaintaia
The Drama's goMen volume free from staiu ;
And diligent in search of all that tends
To please the stage's best and truest friends :
Not by profuse expense for foreign ware,
But well-rewarded, sterling, native fare ;
Subvtantial dishes served with tasteful spice.
The highest banquet at the lowest price !

Lastly, he bids me say, with honest pride,
He stands alonx, whatever may betide I
Shuns COALITION, and resolves to be
Unshackled as his birthright, Liberty !

The prospect he holds out, the breaking-up of a mischievous mono-
poly, and the timely reduction of prices, entitle Mr. Osbaldiston to
support, and there is every prospect of his obtaining it.

After our number has been many hours at press, a new opera, under
the name of Paul Clifford, will have been brought out at this theatre.

Theatre Royal, Lyceum.

Such is the title which the late English Opera House has taken: we
wish it more success, now it has a new appellation, than it experienced
under its old name. Mr. Arnold's recent losses having been repre-
sented to the king, his majesty most considerately granted him a licence
for three additional months, with a view to his indemnifying himself.
We trust that the gracious and kind intention will not be disappointed.
The theatre re-opened on the 19th of last month, with a new piece.
The Muleteer* s Vow, the music selected by Mr. Hawes, who prefaced
the pasticcio with Winter's overture to Zaira, a composition which has
been hacked at the King's Theatre, as a substitute, till the ear is
become thoroughly weary of it. We had no opportunity of hearing
this opera, but should it continue to be performed, it will be duly
noticed in our next.

TO OUR READERS AND CORRESPONDENTS.

The si^ature, C. W., to a letter in our last number, having given rise to an erro-
neous conjecture, we beg it to be understood that Mr. Charles Wheatstoue is not the
author of that communication.

XRRATUM IN OUR lAST.

Page 97, c^luma 1, line 3 from the bottom^for moniret, read mxmsinB.

LONDON: CHARLES KNIGHT, 22, LUD6ATB STREBT.

FAiMTSD BT W. CLOWES AK9 SONS, DuKB Stbist, Lambitb.

MUSICAIi lilBRARY.

MontblU S^nppltnttnt

No. XXI. DECEMBER, 1835. Price Sixpence.

The Music of 'Part XXI.' • • . • . 1?
Ecclesiastical Choirs of Great Britain and
Ireland 14

CONTENTS.

Correspondence of Zelter and Goethe • ,
Fugues of S. Bach •••••••• 18

Concerti da Camera 19

Page

Society of British Musicians 20

Foreign Musical Report •••••• 21

Drama 23

THE MUSIC OF PART XXL

Nocturne, Les Soupirs de la Harpe Eolienne — (Page 21).
From a German periodical work. This is one of the most recent
compositions of Kalkbrenner^ (see vol. i. p. 4,) whose object, in
the short introductory part, is to imitate the wild, unmeasured
sounds of the iEolian harp; the reader, therefore, must not, from
the irregularity of its harmony, infer any error in the printing.
Neither should he be discouraged by the difficulties which seem
to arise out of the chromatic harmony, and the passages requiring
a great stretch of hand : these will not, on trial, be found so for-
midable ais they at first appear, and the great beauty of the music
will amply repay the two or three hours of study which it may,
possibly, cost the performer.

Overture, LeJeune Henri — (Page 24).

This descriptive and charming work of the celebrated French —
or, more correctly, Belgic^-composer, Mehul, (see vol. i. P. 14,) is
one of the stock-pieces of the Philharmonic Society, where it is
frequently performed, and always cordially welcomed. After the
opera Le Jeune Henri had had its run, the overture, which the
Parisians were resolved not to lose, was used as La Chasse, in the
Ballet of La Chasse d* Amour. Our copy of the adapted overture
has an ad libitum violin accompaniment, the few useful notes of
which we have incorporated in the present arrangement.

Polonaise — (Page 34),

arranged in Germany as a duet, but originally composed for a
single performer, by

MICHAEL, COMTE D'oGINSKY,

a nobleman, senator, and privy-councillor of Russia, as well as a
knight of many orders. Passionately fond of music, he not only
distinguished himself as an amateur performer of the highest class
on the piano- forte and violin, but by his compositions, which,
though consisting chiefly of polonaises and romances, show him to
have been a man of refined taste and superior genius.

It is related of the Count, that ' he was strongly attached to a
lady who preferred his rival. Resolved not to survive his disap-
pointment, he asked, as a last and only favour, that he might be
permitted to dance with her the first polonaise at the nuptial ball.
For this purpose he prepared the expressive composition which
now appears as a duet, during the performance whereof he ill
dissembled the agony of his mind, and when it was concluded, he
rushed from the presence of her who could alone have rendered
life valuable to him, and shot himself*.*

There was another noble dilettante of the same name, the
Prince-General (JSettman) of Lithuania. He wrote the article
Harpe in the first edition of the Encyclopedia, and suggested to
Haydn the idea of the oratorio of The Creation. He died at
St. Petersburg, about the year 1789.

Minuet and Trio— (Page 36).

From the ninth grand symphony of Hatdn. The epithet ' grand*

* ibraMmcofi, ii. 219«

Vol. IIL

is used to distinguish the twelve symphonies written for Salomon's
concerts from all others by the same composer.

Air— (Page 38).

Handel's lessons for the harpsichord, published by Walsh under
the title of Suites de Pieces pour le Clavecin, were written be-
tween the years 1718 and 1720, while the composer was residing
at Cannons, the seat of the Duke of Chandos, near Edgware.
The well-known air now given forms part of the fifth suite of the
first set. We have restored the subject, which in the late editions
has been somewhat altered, and damaged, though, by the modem
and clearer notation here adopted, it is rendered more easy to the
performer. We have likewise affixed the true signature. In
Handel's early days it was the absurd custom to put three sharps,
or three flats, at the clef, though the key required four. This
was done to cheat the performer with an appearance of ease, while
the difficulty, of course, remained.

Within the last thirty years, or some such time, the present
air has acquired the title of The Harm^onious Blacksmith. We
never heard any reason assigned for this, till a few weeks ago,
when the following paragraph appeared in some of the news-
papers.

" Handel's Musical Blacksmith. — There are probably few
persons who are acquainted with the facts which induced this
great composer to write the piece just named. It may be neces-
sary, however, to remind our readers, that Handel at that time
resided at Whitchurch, and in that neighbourhood the blacksmith,
whose name was Powell, also lived. After a lapse of nearly a
century, the identical anvil and hammer with which the man-
worked have been discovered in the yard of a wheelwright,
named Jordan, at Edgware, and are now in the possession of Mr.
Wylde, one of the choristers [gentlemen] at the Chapel-Royal.
When struck, the anvil still gives out the same sound which af-
forded so much pleasure to the composer ; and this, with other
circumstances, proved its identity. It appears that, at Powell's
death, his property was sold, and the anvil passed into the hands
of a man named Dormer, also a blacksmith ; it afterwards became
the property of an individual who married a relative of Dormer,
and who, at a later period, sold his business to Jordan, from
whom it was obtained by Mr. Wylde."

The drollery of all this need hardly be pointed out ; and we
shrewdly suspect that the story of Pythagoras and the discovery
of musical intervals, as related by the erudite Nicomachus, was
at the bottom of Mr. Wylde^s dream. An anvil, however musical
its propensities, is giftea with but one sound, — or, at the utmost,
one chord, for its harmonics may, peradveuture, be heard in com-
pany with the generating sound : how then is it possible that said
anvil, admitting its friendly wish to inspire the composer, should
have suggested more than a note, with perhaps its 12th and
17th to Its neighbour, Handel? The author of the fable ought
io prudence to have found several anvils, a party of eight, at leasts
for an a sharp was indispensable in such a concert. With this
number, and an active blacksmith or two, something like an air
might have been hammered out ; provided that said anvils had been
duly prepared for the purpose by one of Broadwood's best tuners.
A^d as to rhythm, or measure, this must have depended on the

THE MUSICAL LIBRARY.

irill of the hearer, who may have counted the strokes of the ham-
mer in fours or in threes, accordingly as he was in a march or
minuet mood. We do not absolutely deny the fact that Handel
stood by Mr. Powell, the blacksmith^ and counted his thumps on
a horse-shoe, — one, two, three, four, — but, as lawyers would say,
the proof is not complete. In sober earnestness, then, we advise
Mr. Wylde not to * meddle with cold iron ' again, unless he can
make out a better case than the preceding, which may find a
corner in some future wonderful magazine, but must not be
allowed to establish a footing in musical history.

Aria— (Page 21).

Infelice in tanti aiTanni,

Piix non 8per6 alcun ristoro ;

Ho perduto il mio tesoro,
Tutto, oh Dio ! per me fini !

Dlsprezza h Ada amante,

Spargo in vano i miei lamenti ;
Chi mai vide tr^ vivanti,

Sventurata al par di mi.

Composed by Carl Friedrich Zelter. (See vol. ii. p. 41 .) We
are indebted to the Harmonicon* for this fine aria, the editor of
which work says, that ' it is from a MS. scena in his possession,
beginning "Oh Dio; se in questa istante," and entirely unknown

in this country The air now given,' he adds, * is but

a small portion of the whole, which would nave been too long for
insertion ; and, indeed, without orchestral accompaniments much
of its effect is lost.'

Elegy— (Page 24).

Ye woods and ye mountains unknown.

Beneath whose pale shadow I stray,
To the breast of my charmer alone

These sighs bid sweet edio convey.

Wherever she pensively leans.

By fountain, on hill, or in grove,
His heart will explain what she means

Who sings botn from sorrow and love.

More soft than the nightingale's song,

O, waft the sad sound to his ear,
And say, though divided so long.

The friend of his bosom is near.

Then tell him what years of delight^

And tell him what ages of pain,
I felt, while I lived in his signt,

I feel till I see him again.

The author of the above lines is unknown to us. The music is
the fifth Elegy, op. 3, of William Jackson, of Exeter, ( Vide
vol. ii. p. 25,) whicn we have transposed from b flat, to suit female
voices.

Romance — (Page 28).

Oh ! forbear to bid me slight her.

Soul and senses take her part ;
Could my death itself delight her,

Life should leap to leave my heart
Strong, though soft, a lover's chain,
Charm'd with woe, and pleased with pain.

Though the tender flame were dying.

Love would light it at her eyes ;
Or, her tuneful voice applying.

Through my ear my soul surprise.
Deaf, I see the fate I shun ;
Blind, I hear I am undone.

To Hummel's German air, ' Neidisch trennenThal und Hugen/
we have adapted the above words, written by

AARON hill,

a gentleman by birth and fortune, though the latter was trans-
mitted to him, oy an improvident ftither, in a very reduced state.
He was the eldest son of George Hill, Esq., of Mahnsbury
Abbey, and bom in 1685. He early distinguished himself by
his literary talents, and soon connected himBeu with the stage, for
which he wrote the tragedies of Merope, Zara, as well as several

* Vol. xi. page 48.

others. He likewise furnished Handel with the libretto of the
Italian opera Rinaldo. In 1709 he became master of the
Theatre Royal Drury Lane, which title, it is to be presumed, was
equivalent to that of manager. Afterwards the management of
Covent Garden was added to that of the other theatre, and he
seems to have directed the aflairs of both in a manner highly
satisfactory to all parties. Mr. Hill is introduced in the Dunciaa,
but in a manner that may almost be considered complimentary.
He died in 1750.

Song— (Page 29).

No flow'r that blows
Is like this rose.

Or scatters such perfume :
Upon my breast
Ah ! gently rest,

And ever, ever bloom !

Dear pledge, to prove
A parent's love,

A pleasing gift thou art :
Come, sweetest flower,
And from this hour

Live henceforth in my heart !

From the opera of Selima and AzoTy altered, by Sir George
Collier, from Marmontbl's ZSmire et Axor ; the music by
Thomas Linley, Sen. {Vide vol. ii. p. 50.) The opera vras pro-
duced at Drury Lane Theatre, in 1776, the year in which it fiist
appeared in Paris, when the beautiful Mrs. Baddeley sang this
celebrated air, in the character of Selima.

DuKT— (Page 32).

Cleopatra.
Cesare.

a 2. I

Caro!
Bella!

Pill amabile belt&
Mai non si trover^,
Del tuo bel volto.

Prom the opera Giulio Cesare, written by Nicola Francesco
Hatm, the author of many Italian lyric dramas, and composed
in 1724 by Handel. Caesar, after the death of Pompey, and
the subjugation of Ptolemy, becomes enamoured of Cleopatra,
queen of Egypt, who yields to his addresses, and the opera ter-
minates with a duet, sung by Caesar and Cleopatra, of which the
above forms a part only.

Madrigal — (Pafe 36).

Sweet honey-sucking bees, why do you still
Surfeit on roses, pinks, and violets ?

As if the choicest nectar lay in them,
Wherewith ye store your curious cabinets.

Ah ! make your flight to Mellisavia's lip.
There may ye revel in ambrosian cheer,

Where smiling roses and sweet lilies sit.

Keeping their spring-tide graces all Uie year.

Yet, sweet, take heed ! all sweets are hard to get ;

Sting not her soft lips : O beware of that !
For if one flaming dart come from her eye,

(Was never dart so sharp) ah ! then you die!

These verses are among the noany lyrics of the Elizabethan period
whose authors remain unknown. The music is, in general esti-
mation, the chef-d'oeuvre of John Wilbte, one of the greatest of
madrigal composers. (Fide vol. i. p. 62.) It is divided by the
author^ into two parts, or portions, the first whereof is given in the
present part : the second will occupy the first pages of the next,
so that the two may join in binding.

THE ECCLESIASTICAL CHOIRS OP GREAT BRITAIN
AND IRELAND.

[Continaed from page 8.]

No. IL— ST. PAUL'S.

In the endeavour to trace the history of the origin' and endowment
of the choral body of this cathedral, more difficulties presented them-
selves than were anticipated ; but the information to be obtained
is exceedingly scanty, and Dugdale, from whom we expected to

THE MUSICAL LIBRABY.

draw much valuable, matter^ hafi rendered us little, if any» aeaist*-
ance in our inquiry. From Malcolm^s L(mdinium Redieivum we
have derived some aid» but are more indebted to the researches of
a lady of much learning and indefatigable industry, for what
knowledge we have gained on the subject than to all the other
authorities we have had the means of consulting, lliis able
inquirer, whose strenuous and. not unsuooessful efforts to amelio-
rate the condition of the choristers, or singing-boys, of the
cathedral, afford the most undeniable proofs of a powerful under-
standing and a benevolent disposition, has, in her accurate and
useful works*, collected a number of facts which are very satis-
£Eictory and complete in regard to the provision made for the
education and support of the youthful members of tiie church, if
they may be so designatedf ; but of the lay vicars and- organist
she has said nothing, they being unconnected with the points and
interests which she undertook to investigate and advocate. The
Regiatram EleemosynaruB D. Pauli LondinenBis, printed by
that lady, from a nmnuscript in the Harleian Collection^ and
appended to her volume, also supplies much useful information,
rendered still more valuable by her numerous explanatory notes.

From these sources — not very fruitful ones as they relate to our
immediate purpose — ^we have gathered the following particulars
conceniing the choir of this great establishment, fiut we must
here premise, and the observation should be borne in mind by the
reader of all our subsequent articles on the present subject, that
anything like a regular musical history of our choirs only com-
mences aA»r the suppression of the monasteries ; in fact, until the
reign of Henry VliL, no English cathedral music worthy of
mention had existed, and we may reasonably consider Tallis as
the father of our church harmony. It is true that various masses
by Fayrfax, Marbec, Tye, Tavemer, and others, some of which
were written in the reign of Henry VII., are still extant; but
they are unproducible as compositions, and of no value except
to the musical historian or the antiquary.

The establishment of St. PauVs consists of a dean and three
canons residentiary, who form the chapter ; a precentor, twenty-
six prebendaries, twelve minor canons, two of whom are called
cardinals, six vicars choral, one being the almoner, and eight
choristers^ or singing-boys» The organist, as such, is not recog-
nized, he being one of the vicars choral, though receiving
additional emoluments for the duty he performs J.

The endowments of this church are rich : the deanery is sup-
posed to be worth 4000/. per annum, and is generally given as
an augmentation of one of the smaller bishoprics. The emolu-
ments of the canons residentiary are estimated at rather more
than half those of the dean. The oflBce of precentor, though now
almost a sinecure, is one of great responsibility. This dignitary,
as first chanter, is governor and leader of the choir ; his duty is
' to elect the choristers, and provide them a singing-master ; to
* superintend their niusical education, and to take care that the
' whole service be reverently and correctly performed.* — (Liber
Stutatorum.) His remuneration is liberal in the extreme, and
derived firom fourteen houses in and near St. Paul's Church-
yard, together with the valuable manor and rectory of Bishop's
Stortford, Herts.

The value of the prebendal stalls varies very considerably.
Finsbury is the richest. Dr. Wilson, a late prebendary, had
500^ a-year settled on himself and his heirs for ninety-nine years,
before tie granted any leases. The present annual vaiue is stated
at 1800/. per annum, and is held by Dr. Percy, Bishop of
Carlisle. The poorest stall is Portpool, valued at a very small
sum.

The minor canons were incorporated by Richard II., who
' augmented their maintenance by a grant of divers lands and
rents.' The livings held by them are of various value ; among
these, Cripplegate is worth at least 1800Z. per annum. Some do
not exceed 200/. They nominate two persons to fill any vacancy
in their own body^ of whom the dean and chapter must elect
one.

The vicars choral have lands, houses, tithes, and qiiit-rents
belonging to them (jure ecdesine) ; but cannot let any without the

* C o rretpondtHcef Legal Proceedingr, and Evidenoa rttpeetmg the Andeni Schooi
of Si. lPaut$ CatAodral, 4to., 1816.. A brief Hutory of Catkedrai and CoUeffiate
SehooU, 4to., printed in 1827, but only privately circulated.

t Th»choriatari tfaroughstii the Regietrtm Elmme^mmrim are caUed iadiflfoiently
Pueri Elemmmarie^ or C&'iei E / e mm nariet end eometimee Parvu Cleriei.

X By a recent amogement, a eixth vicat choral ie to be added.; it ia> liliawiee
determii^ed, that the nicceeeort of the pnient ofganist ihall haws a.H|^aialB nlttjb
and no longer be datniLvith Um ohoalbod|%

dean and. chaplain's concurrence under seal. (Malcolm, iii. 19.)
These altogether not amounting to a sufficiency to secure the
services of eligible persons, the salaries are increased by what is
called the cupola money, or mone^^ taken for dewing the different
parts of the murch* This is divided among the minor canons>
the organist, the vdcars choral, and the vergers, in the following
proportions :-^The organist, whose salary as such is only 60L per
annmn, receives a fiileenth share; the vergers a twenty-seeond
share. The- ranmtnder is divided equally among the others^
aoeording to the number of attendances. The salaries of the
' vicars choral bam these different sources may be stated at from
120/. to 1502. per annum> for which they are required to attend
twice daily. But they are allowed to provide deputies for the
six alternate months> whom they are obliged to pay out of their
emoluments. The present vicars choral are —

Messrs. Attwood (Organist).
Vaughan.
Clarke.

NlELD.

Hawks (who is also Almoner), and

GOULDEN.

Tlie dean and chapter have recently engaged another singer,
at a sala^ paid by them (said to be 501. per annum), whose
name is Hawkins ; and, as before stated, whenever the present
organist has a successor, this officer will be separated from the
body of vicars choral, which will then consist of six Vocalists.

The almoner is master of the choristers, whom he maintains
and prepares for the service of the choir. It appears from an
affidavit of Mr. Hawes, the present almoner, entered in the Court
of Chancery in 1814, that he engages ' to teach all the choristei's
^ the theory of music, and the four senior boys to play on the
' harpsichord* ; and to pay a proper person to instruct them to
. ' rea(L write, and cast accounts, the sum of twenty guineas
^ per annum.' The present dean. Dr. Coplestone, soon after his
appointment, directed that the eight choristers should be wholly
maintained (boarded and lodged) with the almonerf . The total
revenues of the school are now about 340i. per annum, exclusive
of fines on renewal of leases, which may average 40i. or 50/.
more, making the allowance for each of the choristers about 48?.
per annum.

This school, says the lady before alluded to, is amongst the
most ancient in the kingdom, and no author, she believes, has
attempted to trace its origin ; but there is one payment still con-
tinued to the choristers, 'for their commons, li. 10*. 4d. per
annum,* which bears internal evidence of its Saxon origin, and
was a rent-charge, at the rate of seven-pence per week, upon the
manors assigned for the general sustentation of the canons and
other ministers of the church.

The members of the cathedral at its foundation were, a bishop,
thirty major canons, twelve minor canons, and thirty vicars
(vicars choral), now reduced to six, or, in point of fact, five. Tha
deanery was founded and endowed by Canute ; the dignities of
maltster scholarum, precentor, or chantor, and treasurer, were
founded, or at least endowed, after the conquest. Hence it will
appear, that when the administration of the revenues of our cathe-
drals was in a purer state, thirty voices were not thought too
many for the due performance of the duties of the Metropolitan
Church. When, however, St. Paul's was rebuilt on a much
grander scale, — ^when music was become an art of more import-
ance, and the sacred compositions demanded greater skill and
more power, — ^then the number of those to whom its execution
was committed, who were expected to impart to it all the majestic
effect that it was calctdated to produce, was reduced to the
number of five ! of which, experience justifies us in asserting, one,
at leasts out of the set, is always incapacitated from assisting;
eidier by the effects of age, or from those disqualifying colds to
which singers are necessarily more liable than persons of less

^ VThat strange notiont the dean and chapter, or the precentor, wfaoee peculiar
duty it was to look to this engagement, must have entertained of the tkeerf of tmuic i
Teaching the theory to children who had not yet been instiucted in the use of any
one musical instrument! This learned body, or individual, does not seem to have
understood the difierence between simple elements and abstruse science.

f We cannot mention the name or this most excellent prelate without adding^
that he is doing everything for the amelioration of the ca tb e d ml gennaUy, and of
the choir in pa^icular, that lies in his power. No doubt he has many, prejudiceii
and difficulties to contend with, but we trust that his powerM mind and' strong
KBse of iuftiee will enable h'un to overoome all obstacLsr whieh •betinate arror as
blind iclnshnesg may throw in hia wag,

THE MUSICAL LIBRARY.

delicate vocal organization ! Such is the provision made for the
performance of the choral service in this vast edifice — the Metro-
politan Cathedral of the British empire ! How, it may be asked,
is the evil to be remedied ? We, without hesitation, answer, let the
revenues of one of the good livings belonging to the church be
appropriated to the endowment of six or eight additional vicars
choral : or let the superior clergy of the church tax their incomes
for the same purpose ; they can well afford it. The dispropor-
tion between the emoluments of the various members was not so
great formerly as at present, we are inclined to believe; an
opinion somewhat strengthened by our knowledge of the sums
given by Henry IV. to the different members of the cathedral,
for singing masses on the anniversary of the deaths of his father,
John, Duke of Lancaster, and of Blanche, his mother : namely,
to the dean, 3^. 4d. ; to each of the principal canons, 20rf. ; to the
petty canons among the twelve, 10*. ; to the vicars, 4». 8rf. among
the six ; and to the choristers 2». 6rf. among the eight*. Thus,
it appears that, according to that monarch's notion of an equitable
distribution, the dean's share should be a fraction more than as
4 to 1 compared to that of a vicar choral, while at the present
moment it is, doubtless, as about 20 to 1. We do not mean to
contend in favour of the proportions authorized by the act of
Henry; modern circumstances justify a far wider difference, but
so great a disparity can hardly be defended on any principle :
either the dean's salary is too large, or the vicars chorals' too
small.

We will not close this article without expressing our deep
regret — a feeling which we entertain in common with every dis-
interested lover of his country — that the salaries of any portion of
the members of our Metropolitan Cathedral should, in a measure,
be made up from monies demanded for showing the church, from
pence taken for admitting the public to view that for which the
public have paid, and which, in point of right, belongs to the
nation. If such a practice — a practice of comparatively recent
date — were known only to ourselves, we ought to blush at and
abandon it ; but when the ill fame of so sordid an exaction is, to
our disgrace, bruited all over the civilized world, it is still more
incumbent on those who have the power to correct the abuse, to
set about the task honestly and manfully, and rescue the country
not merely from the charge of illiberality, but from the merited
imputation of the most paltry, contemptible meanness, the most
indefensible inj ustice. — (^Editor.)

CORRESPONDENCE OP ZELTER AND GOETHE.

[Continued from Page 3.]

No.V.

To Goethe.

It has not been by my own will that I have been so slow with the
portion I now transmit. Nay, even this little I have been obliged
to force from the copyist. The greater part I still retain, con-
soling myself with the pleasing prospect of thus being able to
communicate oilener with you.

The mode of. executing the music to the Zavberlehrliny
(Apprentice in Magic) is about the same as that in which I hke
to hear the poem read ; that is to say, I begin not too rapidly,
though allowing myself, here and there, a sudden motion, and a
rapid execution of the incantatoiy words ; I then proceed as it
were, in a stream, until the master appears, to whom I give
a higher and somewhat more authoritative tone. The musical
points lie chiefly in the power of the singer, who must preserve a
solemnity, and avoid bungling in the expression of the words. I
had composed Thekla's song, from the Almanac. I have put it in
the mouth of a harper, who performs it first in a narrative style,
and afterwards, overcome by the interest it excites, with action.
Had I previously known the Piccolomini, I might probably have
set the song diflTerently, although the weight and depth of the
complaint must be striking, independently of the connexiop. Die
Erinnerung (The Reminding) required a mysterious, troubled,
yet a graceful and pleasing style ; a style depending on the music
Itself, and not calling on the singer for any especial action
denoting extraordinary agitation. Hence I have indicated its
manner of performance by the word cammodetto.

The Sonnet is but an attempt. I am very little versed in the

* Dugdale ■ Si. Ptmt*, page 4).

theory of poetry, and entertained a belief that sonnets, from their
architectonic form (as indicated by Sulzer), must be peculiarly
adapted for music But although this attempt is the best of
many, I cannot look upon it as successful. The extensions which
you will find here and there in the melody are, viewing them with
regard to expression, the Best part of the whole ; yet these spoil
the external proportion of the poem, which I thought so manage-
able. There may be other metrical rules for sonnets, with which
I am unacquainted. The poet must refrain from enjambements*,
as e.g. here in the first quatrainf ; and SchlegePs sonnet Gesang
und Kuss (Song and Kisses) closes with an interrogation.

I received on the 30th of August your valuable letter of the
26th. Die erste fValpurgis Nacht (The first Walpurgis Night)
is a very peculiar poem. The verses arc musical, and adapted
for singing. I wished to send it you herewith, already set to
music, and have indeed finished a considerable part, but 1 cannot
yet discover the spirit which pervades the whole, and therefore let
it remain a little longer. Herr Unger commends himself to you,
and I have the honor to be, &c., yours, most respectfully,

Zkltrs

Berlin, 2\st Sept 1799.

No. VI.

To Goethe.

I do not hesitate again to send to you some of my compositions,
and if none of them, except the Serenade, is quite new, yet none is
known through the medium of the press. They were all com-
posed with strict attention to metre and prosody ; and I will here
say that I should be happy to receive some good instruction in
this department of art. Short verses interspersed with long ones
are most difficult for music, especially if the design and character
of the poem be well attended to.

Das Herbstlied (The Autumn Song) requires a somewhat lively
movement. Der Junggesell und der Muhlbach (The Youth and the
Mill-stream) seems to me a lucky hit, especially if alternately sung
by two persons. Das Blumlein IVanderschon (The Flower Wonder-
fair t) might also be sung by two persons. What to say to the
Bride of Corinth I know not. Friends, to whom I have sung it,
praise it, and do not perceive in it any objectionable points.
Perhaps this poem can only be effectively performed in the
following manner : I sing it in a recitative or speaking style, in a
somewhat hollow voice, as one generally narrates what is fearfidly
mysterious ; and thus the intended effect is produced. I pay the
greatest regard to the short lines that follow the long ones^ and
hence an imcertain sort of time has arisen. The greatest diffi-
culty for the singer is so to vary his style in delivering the many
stanzas, that the poem shall not become cold at the end, from the
frequent repetitions of the melody. However, as it is not a poem
for the many, the many will not sing it. Das Bundeslied (The
Union Song) 1 have heard sung by a hundred and twelve sonorous
voices at a table, and have hence learned what a German verse
can do. The Serenade is not the best poem. I chiefly concerned
myself with the outer form of a serenade, which, in a piece that is
to be tinkled under the window of an innamorata, is the most im-
portant consideration.

I think I ought to fear wearying you by my scribbling. I have
long suppressed a wish, which at last I venture to utter. Some
time ago I was told that you had written a serious opera. I may
have been misinformed ; but how delighted should I be could I
persuade you to undertake so meritorious a work! and what a
delightful task would the composition of such an opera be for
me r I am very unwilling to appear a boaster, but I know what
I can do, and should not be likely, under such a guidance, to prO'
duce anything mediocre. I am almost convinced by your Iphi-
genia, that we should be so united by such a labour, as probably
never to part. With my particular bias for one species of music
— the dramatic — which is now as generally as unsuccessfully
cultivated, I could not fail to have a number of dramatic attempts
growing under my hand almost involuntarily, many of which
seem to promise that I should succeed on a large scale. I have
— — ^ ,

* Enjambement. A French vroid lignifying the running of one Terse into anotherj
fur the lake of the nense. — Trufulaior.

t A Bonnet, — as is well known to such of our readers as are aeqnainted with the
mechanism of vene — consists of fourteen lines, which are anangra in four stanias,
the first two containing four lines, the latter two three Unet each. The ttanxai con-
taining four lilies are technically termed quatraitu.

X A name given by Goethe to the Fbrget-'Wie'mot^'-^jymuUii^*

THE MUSICAL LIBRARY.

acquainted no one with these attempts, but will send you speci-
mens ; your remarks on them will be to me invaluable. Indeed,
I have partly composed several operas, because the poetry excited
in me an inclination. We have here the near prospect of getting
a new and larger theatre, and may expect that from henceforth
great affairs will appear still greater. I would not readily let this
circumstance be without its use, or stand among the children
of Parnassus with an empty hand, sighing over the taste of the
times.

Herr Unger told me lately that you wished to lay some ques-
tions before me. My science, such as it is, stands wholly at your
service; and what I do not know, my fatherly friend Fasch,
a sound and refined theorist, will have great pleasure in making
up. I prefer to commend myself to you by my songs, as I do not
better know how to serve you, than by placing before you your
own dishes, and remain, with the sincerest esteem, yours, most
devotedly, Zelter.

Berlin, 30th Jan. 1800.

No. VII.

To Goethe.

I CANNOT deny myself the pleasure of making you acquainted with
a little work * intended to exhibit a picture of an estimable artist,
who was my friend. I have only wished to give a portrait of the
man, and willingly resign all claims to authorship. I take to
myself the more merit in so doing, as I have right mournfully felt
the necessity of art on this occasion, to display a character of a
man well known to himself, but not to the world.

In the plate by Henne, the head is perfectly finished, and hit
off to the life; the cheerful, free, and calm spirit, unaccompanied
by guile, is very happily imitated. My friend Schadow sketched
the picture in chalk, one fine morning, at coffee, under the green
trees, and in a night-gown. Of the night-gown, in which I did
not wish the picture to appear to the public, a species of toga has
been made.

I thank God that you have recovered from your severe illness,
and shall receive some words from you on my labour, as a gift
which cannot often be expected, because fraught with too much
happiness. With the sincerest love and esteem, I remain, &c.

Zeltkr.

No. VIII.

To Zelter.

By the mobument you have erected to Fasch you have achieved
a very meritorious work, and thereby afforded me great pleasure.

The recollections of a past life are delineated so well, that their
tendency must be, first to revive the ashes, then to exhibit to our
vision tne enlightened phoenix. Every man may wish thus to be
described hereafter by his friend^ his scholar, his companion in
art.

In contrast to this amiable revival of individuality, what a bad
figure do those necrologists make, who, while after the decease of
a distinguished person they industriously compare such of his
good and bad qualities as the multitude have thoughtof or chattered
about, with hypocritical justice adorn those so-called virtues and
* vices, and thereby are more effective than death in destroying a
personality which can only be conceived in the living union of such
opposite qualities.

The origin of the sixteen-voiced masses, and the Vocal Society
which arose therefrom, gave me especial delight. How did I in
my mind con^atulate good Fasch for having been fortunate
enough to reahze such an idea !

In an earlier letter, an answer to which I have so long remained
in your debt, you ask me, whether there be not among my papers
something like an opera?

You will find the first scenes of a second part to the Zauberflole
in the next fFilmansisch Taschenbuch-\. Some years ago I
formed the plan of a serious opera, to be called the Vanaides, in
which, after the style of the old Greek tragedy, the chorus was to
take the prominent part : however, I shall never finish either of
those pieces. One must live with the composer, and work for a
particular theatre, otherwise nothing is likely to come of such
undertakings.

* He ftUndat to his own biographr of FmcH.

f Ta$chaAmek literally meAiii foekti^book : it ii here used for what we call an

Send me, from time to lime, some of your compositions, which
afford me great delight. Besides, I live in no musical sphere ; all
the year round, we rc-produce now this piece, now that; but where
there is no j?roduction, an art can never be felt in a lively manner.
Fare you well ! and remember me. Goethe.

Weimar, 29th May, 1801.

No. IX.

To Zelter.

A COMMISSION which I have undertaken to execute gives me this
day an opportunity of thanking you for the marks of kindness you
brought and left with us, and for which we are still your debtors.

[M. Goethe then recommends a young man, a carpenter by
trade, to the notice of M. Zelter. This letter shows that the lat-
ter still pursued his business as a builder.]

If you could employ him in the building, in which you yourself
are en^ged, my wishes would be satisfied. I ask for your oblig-
ing opinion on this subject ; and also for the intelligence, that
you have arrived safe home. Farewell ! I hope soon to hear from
you something melodious. Goethb.

Illustrations of the Correspondence of Goethe and Zelter.

[Under this head we intend to insert such matters as may assist
in illustrating this correspondence, and are too long for mar-
ginal notes. Coming under this description, are the words
of such songs referred to as are necessary to the understand-
ing of the letters ; and also notices of persons to whom allusion
is made. These Illustrations will be concurrent with the cor-
respondence itself.]

No. V.

The Apprentice in Magic. — ^This, though rather long, is so
eccentric and amusing a poem, that we think we cannot do better
than give the entire version from Mr. Taylors ' Survey of Gennan
Poetry.' He has closely imitated, but not strictly followed,
Goethe's metre.

Now that my old master-wizard

Is for once at least away,
All the spirits in his keeping

Must my sovereign will obey.
Watch'd have I his word and deed.

Many an hour and many a day ;
And with strength of mind and head

Work a wonder 1 too may.

Wander, wander,

Yonder, yonder,
To the brook along the path ;

Bring me water,

As you taught are.
Pour it, shower it, in tlie bath,

II.

Hither, you old broomstick, hither !

You have been a willing slave,
Be, as heretofore you have been.

Ready, steady, quick and brave.
Stand upon two legs and carry

Human arms and head, I crave.
Bring a pail, and fetch me water,

In the batli my limbs to lave.

Wander, wander.

Yonder, yonder.
To the brook along the path ;

Bring me water.

As you taught arc.
Pour it, shower it, in the bath.

III.

See, he's running to the river.

Dips his pail, and brings it back ;
Now again he's going thither, '

And is hither in a crack.
Quick as lightning he's returning.

Water I no longer lack ;
Tlie bathing-trough is running over.

You may cease to keep the track.

Stand still, sUnd still !
I've had my fill.
How ! your gifiis are coming yet.

THE MUSICAL LIBRARY.

Oh dear! oh dear !
You do not bear.
And the check-iprord I forgBt.

IV.

The word, which when the woik ie over

We utter muttering to unmake
The mimic man to stop his journeys.

And bid the busy-body take
His quiet broom-stick form again :

The garden will soon be a lake.
And vet he's bringing fresh supplies,

He*il flood the ceUars— how I <)uake t -

Not any longer

Brave the stronger :
This is malice, this is spite I

How fell a scowl!

How deep a growl !
I*m more than eyev in a fright

Ctnreed broom-sUck, deaf as deadnesSt

Offspring of the lowest hell,
Shall your master's house be ilooded ?

How the streaming waters swell :
Over every single tlireshold

Flows enough to fill a well ;
Be again the stock you have been.

And in your old corner dwell.

Stand still, stand still !

I've had ray fill,
Kow, if you provoke my wrath,

I'll seize on you.

And chop in two.
Soon this axe aliall work you scath.

VI.
What ! coming still with other paiMuls,

I'll fell yon, goblin, to the ground !
Well aimM ! by Beelzebub, you've got

At last, I trust, a fatal wound.
And willing, nilling, must, I fancy.

Desist as you're in duty bound ;
And I again can fetch my breath.

And look a littk freely roimd.

Woe increases !

Both the pieces
Stand up watermen complete ;

Neither tarries,

Either carries
Pail on pail with restless Feet

VII,

How they hurry, flurry, scuny,

Wet and wetter is tbe hall I
Cellars flooded, staircase mudded^

Dpuble deluges appal.
Oh, here comes the good old master :

Master, master, hear my call,
I can't bring the sprites to rest.

Whom I was able to inlbndl.

Besom, besom,

Don't distress him ;
To your comer fast and faster.

But as spirits,

When the time fits.
Hearken only to your mas^r.

Theila^s Song. — ^This is by Schiller, and was introduced into his
tragedy of the JHccohmini. Tbe following is Coleridge's version :

The cloud doth gather, the greenwood roar,
The damsel paces along the shore ;
The billows they tumble with might, with mighty
And she flings out her voice to the darksome night ;

Her bosom is swelling with sorrow :
The world it is empty, the heart will die.
There's nothing to wish for beneath the sky.
Thou Holy One, call thy child away !
I've lived and loved, and that was to-day.

Make ready my grave-clothes to-morrow.

No. VI.

The Bride of Corm/A.-.— This poem is too long for insertion ;
readers will find a versum of it in Tajdor'a * Survey/ as well

our
as a

more wcBOt one by Dr. Anster, bound iip withl^sct ffentlenm^i
* Faustus.' The subject is this : — ^A gin cf GoriB^ is-, in the
Heathen times^ betrothed to a young man. Her parents, who be-
come converted to Christianity, taking advantage of her lover's
absence, dedicate her to a life of celibacy. He returns^ and visita
the mother, totally ignorant of what bas taiceii place ; she leaves
bim alone at supper, where be is Tisited by his pronaised bride.
She is overjoyed at seeing bim ; but &eir happiness is intermpted
by the entrance of the mother. We then learn that this bride is
the corpse of tbe betrothed^ risen from the grave, urged fay the
desire of revisiting her lover, who subsequently dies from the
effect of her caresses. The poem is interspersed with remarics
not of a very pious tendency.

Fasch, Kaitl-Fiiibdkich-Christian, Reyal KammermtBriha
at Berlin^ bom at Zerbst, in 1736, where his father was Kapell-
meister. His musical talents were early developed. His fatber
sent him to Strelitz, where he received instruction firom Music-
director Hart el. In 1756 he entered inU> the chapel of Frederick
II., and there died in 1800. The works of this great musician
display the most profound knowledge of the musical art^ the
strongest sense, and deepest expression. In concerted vocal
pieces be exhiUts singular perfection : there we meet with the
most artist-like and finest harmony, united to tbe most expressive
melodies. His Jduerere, for eight voices, is regarded as a chef
d'ceuvre ; and his sixteen-voiced Kyrie and Glmia is regarded
by Hiller as a work which, in depth and taste, surpasses every
thing of tlie kind ; an opinion in which all conuoisaeurs have con-
curred. It will ever be regretted that Fasch, who always strove
after the highest perfection, caused most of his compositions to he
burnt before bis death, so that we possess very few of :hem. One
of bis great merits was the forming a vocal academy^ unique in
its way, at Berlin, over whidi his 6ch<dar, Zelter, who in a work
has honoured his great master's merits, presided after his de*
cease. — ConverMaHans-LexicatL

FUGUES OF S. BACH.
To the Editor of the Supplement to the Muncal Library.

Oxford, Oct. 29, 1835.
Sir, — I have just seen yoirr Supplement for the present month,
containing a memoir of Sebastian Bach, extracted from the
Penny Cyclopcedia, the writer of which (speaking of his fugues)
makes the following observations :—' while we admit the deep
learning and ingemous contrivance they display, - as well as
the vast labour they must have cost, we are heretical enough to
think that, as regards effect,—- «nd what is music without ?— tiiey
have been over-valued.*

Now, I think it will be allowed by every candid person, that tbe
fairest way of deciding on the merits of a composition is aocording to
the science and invention which it displays; for the effect, depending^
as it does, so much on the greater or less degree of cultivation and
refinement in the taste of the auditor, must neoessarify be a very
fallacious test of the excellence of the musio-Htnore especially
when (as in the present case) it belongs to the highest class ; ' for*
(says Sir J. Reynolds) 'it is the lowest style only of arts, whether
of painting, poetry, or music, that may be said in the vulgar sense
to be naturally pleasing. The higher efforts of these artSj we
know by experience, do not affect minds wholly uncultivated.
This refined taste is the consequence of education and habit.*
Dr. Crotch also warns the student that * he will meet with critics
and writers who assert that whatever does not produce effect caa-
not be worthy of our admiration. But the suulime in every ait,
though least attractive at first, is most deserving of regard. ^NHien
Sir J. Reynolds first beheld the Cartoons of Raffaelle be felt dis-
appointed, but he afterwards yielded to none in his yeneration for
their sublimity. For this quality does not strike and surprise,
dazzle and amuse, soothe and delight, but it elevates and expands
the mind, filling it with awe and wonder, not always suddenfy,
but in proportion to the length and quantity of study bestowei
upon it The more it is known, the more it will be understood,
approved^ admired, venerated, and I might almost say adored.'

As a proof that musical compositions of unquestionable ex-
cellence may fail in producing any effect on a person of unculti-
vated taste in this particular, though possessing in many other
respects great intellectual capacity, we may cite the example of
Pope, who is said to bave declared £hat Handel'^ finest perform*

THE MUSICAL LIBRARY,

mrees gare fahn no more pleasure than the airs of a common
bftUad-einger. While, on the contrary, for the effect produced on
a kindred sprit by such music as Bach*8> we may again refer to
Dr. Crotdi, who makes the following remarks on tms composer.
* For science and elevation of style, {partieulafrfy in the comparition
ef fugues,) for the power of abstracting the mind from all sur*
rounding objects, and so relieving it from care and sorrow itself.
Bach is unrivalled. The study of all his works is therefore ear-
nestly recommended.' I hope I shall not be considered obtrusive in
troubling you with these observations, but I cannot refrain from
protesting against the doctrine of judging of the merits of a com-
position merely by its eflfect : — >a doctrine so fascinating, and yet
BO dangerous to the inexperienced, as having a tendency to make
them undervalue what is above their comprehension. Wishing
your meritorious publication all the success it deser^'es,
I remain, Mr. Editor,

Your most obedient servant,
G. T.

CONCERTI DA CAMERA.

The very interesting and charming Soirees MusicaUs established
in Paris by M. BailTot, the celebrated violinist, in which quartets,
quintets, and music of this class, form the principal part, probably
suggested the Chamber Concerts of which we now are about to
give some account.

A party of professors, consisting of Messrs. Blagrove, G. A.
Griesbach, Watkins, Pigott, Sherrington, Lucas, Banister, Howell,
Card, Powell, Rae, and C. Saloman, announced, in October Isat,
' Four Concerts of Instrumental and Vocal Music, to consist of
Trios, Quartets, Quintets,' and so on, -up to Nonets, including
Double Quartets, ' selected from the works of Haydn, Mozart,
Beethoven, Boccherini, Onslow, Mayseder, Hummel, Weber,
Moscheles, Czemy, Spohr, Mendelssohn, Hummel, &c.' The
terms, one guinea for four concerts, which were fixed for the 7th
and 21st of November, the 5th and I9th of December. They
commenced 9 according to promise, and the following is the pro-
gram of the

FIBST CONCERT, SATURDAY, NOVEMBER 7.
Act I.

Twelfth Quintet, in ▲ minor, Onerm 34, (dMi^ mix Fr^m Bobrar)
for two violios, vioU, violonoidlo, and coatnbaMO j Measn. H. G.
Bla|;rove, 6. A. Griesbach, Sherrington, Lucas, and Howell • Oxslow.

Song. Mr. John Parr^, Jun. * When forced from dear Hebe to go* Dr. Ariib.

Quartet, m n fiat miyor, No. 4, for two ▼idlinn, viola, and vioUmeeUo,
Measia. G. A. Giieabach, Watkini, Sherrington, and Baaistfix • Mozabb.

A£TU.

Grand Septuor, in d minor, fur piano-forte, flute, oboe, horn, liola,
viuloncelkj, and contrabaaso ; Measrs. Salaman, Card, KeAtio^
Sherrington, Bauister, and Howell . • • • J. N. Huhxil.

Seng, Mrs. H. R. Bishop, 'Der Hirt auf dem Felaen,' (aecom-

. panied on the Tk^in and piano-forte by'Mr. fi. G. Blagrove, and
Mr. H. R. Biahop) . • . . • F- Schubbbi.

Fint Quartet, in r major. Opera 59 (dedicated to His Excellency
Count Rasoumoiisky), for two violins, viola, and violoncello;

, Measrs. H. G. Blagiove, Pigott, Shernngton, and Locat • Bsbtbovbii.

Onslow*, a dilettante, is of the Beethoven school in style ; he
is learned and laborious, often rises above mediocrity, though not
to any vast height, and never sinks below. He is an excellent
harmonist, who well understands the character of the instruments
for which he writes, and his scores will bear the severest exami-
nation. He is highly finished, but cold, and trusts more to artistic
combinations than to melody. Hence Onslow is i^ot a popular
writer, and probably never will be generally known. The present
quintet is a favourable specimen of the master ; the middle move-
ment is of a deep, impressive character, while in the first and last
movements the minor key is too prevailing, producing an effect
which, in spite of many beautiful passages, is rather monotonous.
The execution of this was on the whole good, but we were parti-
cularly pleased with the first violin (Blagrove), and the double-
base (Hbwell), the latter reminding us continually of that prince
of contrabassisH, Dragonetti.

Arne's lovely ballad was sung in a very sweet manner : we par*
ticularly admired Mr. Parry's manner of accompanying himself.
His is the true piano-forte touch ; from his hand was drawn the
real tone of a very beautiful instrument.

The quartet of Mozart was played with great correctness and

feeling, the exquisite -^ndan/c in a flat particularly ; and the other
movemexEtB — =tiie animated minuet* a &w fans nf which call
Mstdiew JLock Tipin'tliejaemory, and the .ispiriied. finale— *were
equally denghtfid.

Humroel's septuor is rich in every musical quality, from the
fivst Bate t« the last TiJieA altogetlicr it was aUy executed; but
oecamHaUy the i]taBf>-fi>fte refkMreA it neeeesary that the other
iDStnunente «hBiild yield rather TD^re thaa the author ifrtended.
We were much pleased with Mr. Banister*s sensible performance
in this: he was new to us, and we ai« giad that our orchestras
have received so vahiabfe an additioo.

The dever and brilKant, but not Tery attractive air of Schubert,
by no xaeauB easy Sov the singer, had justice done it by Mrs.
Bishop, who deserves great credit for undertaking a song in. a
language to which any but German singers are so entirely unac-
customed, and for executing the task so well.

The musical world was long divided on the subject of Beet-
hoven's opera 59. The quartets are not written in a style likely
to be understood by the many, and, for a time, even the cogno-
scenti were far from entering into it These most elaborate com-
positions have at length won the good opinion of all the best
judges, though it is more than probable that they will long con-
tinue ' caviare to the general.' The first of these was now so per-
formed that the audience had a fair opportunity of hearing every
note of it — of becoming really acquainted with the author's de-
sign, and of tracing the workings of his fanciful and vigorous
mind. We will not say that the execution of it was absolutely
perfect in every part, but we certainly never heard it better played.
Tiie last movement, a Tkenie Russe, allegro, is remarkable for its
artist-like ingenuity, though, to enjoy it, the hearer should either
know it almost by heart, or have the score in his hand while he is
listening. Hence it must be obvious that it never can become
popular.

The Hanover Square Room, where these concerts are given,
was divided on the present occasion by a screen, which cut off
about a third. Immediately in front of this partition a platform,
raised two or three feet from the floor, was placed for the per-
formers, which arrangement answered exceedingly well, in every
way. Among the company, amounting in number to between
two and three hundred, we observed all the amateurs of quartet
music now in town; and but one opinion prevailed as to the
desirableness of such a concert, and the manner in which this first
attempt was executed.

* George Onslow, Esq., of tbe noble family bearing the same
born abroad, and wholly resides on the continent.

name. He was

SECOND CONCERT, SATURDAT, NOVEMBER 21.

Act I.

Elerenth Quintet, in b flat major. Opera 33, (d6di^ i Monaieur
J. P. Pixia,) for two violinn, viola, violoncello, and contrabaaso;
Henrs. H.6. Blagrove, Pigott, Sherrington, Bcuiister, and Howell Onslow.

Song, Mr« Hobba,' Yarico to her lover,' acoumpanied on the piano-
forte by Sir George Smart • • • • . Himvel.

Third Quartet, in c major, Opera 39, (dedicated to His Excellency
Count Baaoumoffsky,) for two violins, viola, and violoncello;
MesiTS. H. G. Blagrove, Watkins, Sherrington, and Lucas • Bsbthotsn*

Ac-wlL

Grand Quintetto, in c minor, Opera 52, for piano-forte, flute, clari*
onet, horn, and bassoon ; Messrs. Salaman, Card, Powell, Rae,
and J. Tully • . . . . • . L. Spohh*

Souj^jMias Bruce* '£> va! noa m'ode pid,' accompanied on the

piano-forte by Sir George Smart . . • • Wbber.

Ottetto, in r flat major, Opera 20, (d^ie k son ami Edouard Ritz,)
for four violins, two violas, and two violoacellos ; Messrs. H.
0. Bla^ove, G. A. Griesbach, Pigott, Watkins, Sherrington,
J. Banister, Lucas, and Banister • Felix Meiu>el88Qhn Bartholdy •

We were, unluckily, too late to hear more than a part of the
first piece, Onslow's Quintet, but a very able-judging friend gave
us a good account of it, both as relates to the composition and
performance.

The success of the first of the lUmommoffsky quartets, as they
are generally called, eneouraged the same party to give the third
of them, which was ndl less approved, both as regards music and
execution, than the other at the former concert. However, this
is no more likely to gain general applause than the first, for pre*
cisely the same reasons. But the Andante, in a minor, pos-
sessing a melody at once understood, and being familiar in style,
is immediately appreciated by all, and pleases those to whom the
other parts are unintelligible. The same remark applies to the
minuet in c, a graceful, agreeable movement. But what the
uttra-connoisBeurs most delectate in is, the final movement, a
fugue on the following subjeot, —

THE MUSICAL LIBRARY.

Allegro MoUo.

C^i a tELr '

The viola begins, the second violin follows, the violoncello
then comes in, and the first violin enters last. That the whole
of this is worked in a masterly manner need hardly be added ;
but to relish it, an intimate acquaintance with it, and some
musical learning, are indispensably necessary. To the multitude,
the whole appears a mere scuffle — sheer fiddling; but to the
multitude it is not addressed, for, in truth, they would hardly
listen to what should be almost confined to the musician's studio.

Spohr's quintet is a very dry composition : his instrumental
music, generally speaking, and always excepting his symphony
in E flat, is cast into shade by the brilliancy of the greater
masters. Placed, as now, between such luminaries as Beethoven
and Mendelssohn, he bums somewhat dimly. Yet he is always
scientific, and often elegant, as in the present instance.

The ottetto by Mendelssohn is a splendid proof of his early
genius. The scherzo, in c minor, is one of the most admirable
movements that the musical art can boast, and was unanimously
re-demanded. This he subsequently introduced, with additional
instruments, of course, in a symphony, and with the best effect.
We have here an instance, amon^ many, of the sluggishness of
the directors of the Philharmonic Society, who, though the otet
has long been published, have never allowed the subscribers to
their concerts an opportunity of hearing a work in every respect
so excellent. They may plead that it was unknown to them, and
we are willing to admit the plea, for we do not suspect them of
much activity, or of any knowledge of what is going on in the
musical world beyond our own shoi-es. But they ought to blush
that the first production in England of a composition so pre-emi-
nently good should have been left to a new society, consisting
chiefly of a few young, and not yet well known, individuals.

Of the vocal portion of this concert we will say but little.
Himmel's air, with English words, was sung in a very delicate
manner; but it is a drawing-room, not a concert, song. And as to
the aria (' song ' as it is called^ of Weber, it really ought not to
have been admitted. Written oy him for an early opera which
failed, and afterwards introduced mto another not mucn better, it
should be now suffered to pass into oblivion. To revive the very
inferior works of a composer, — and all composei^ occasionally
produce what they soon wish forgotten — is to damage, in a cer-
tain degree, his reputation: such attempts should therefore at
once be discountenanced, as injurious to the artist and derogatory
to the art.

SOCIETY OF BRITISH MUSICIANS.

From the opinion pretty generally entertained and expressed last
season of the impolicy of the exclusive system adopted by this
Society, and in consequence of the failure of most of the new
works, produced, — at a time too when, no doubt, the greatest
efforts were made to vindicate the claims of ' native composers,' —
we hoped that we should have to announce some departure from
the original regulations, and that either foreigners domiciliated in
Great Britain would be allowed an opportunity of exhibiting their
talents, or, at least, that the classical works of our own old masters
would be admitted, as useful models and seasonable reliefs : — ^but
no ! — still indulging the agreeable delusion of being able, by their
own unaided strength, to uphold another half-dozen performances,
the members of this association, resolved, apparently, to furnish
with a justification those who are unwilling to encourage the
attempts made by the musicians of these islands, persevere in their
ill-judged plan, on which they comnienced a second series of con-
certs, on Monday, the 2nd of last month.

The performance began with a MS. symphony by Mr. T. M.
Mudie, a work which, performed at one of the concerts of the

Royal Academy, would have been listened to with much pleasure
as the production of an industrious pupil, — a youth full of laud-
able emulation. But an overture, by the young Sterndale Ben-
nett, is entitled to great praise, — to the praise of invention as well
as correctness. Descriptive of the woes of Parisina, the composer
has entered into the feeling of the noble poet, and proved as true
to his meaning as inarticulate sounds would allow. The same
success did hot attend a scena, by Mr. G. A. Macfarren, in which
an attempt is made to give musical expression to Abo*s condem-
nation of Hugo, in the same poem. Though aidM by words,
this was anything but successful; and even had the composer
been more fortunate, unless he had made choice of some greater
singer, his labour would have availed but little. A piano-forte
concerto, also by Mr. Macfarren, was played by Mr. Holmes in
an accurate manner. And a Round by Mr. Walmisley, jun.,
though much too long for the kind of composition, possesses
merit. Mrs. Bishop sang an air by Mr. Bishop, the instrumen-
tation of which was calculated to please the connoisseurs, but we
in vain listened for some sort of novelty in the melody. Miss
Bruce did all in her power to give effect to a scena by M. J.
Henry Griesbach, her exertions however proved useless. Indeed
singers of much higher qualifications would have found it impos-
sible to impart anything like vitality to so dreary, so inert an affair.
A duettino by Mr. Bishop, sung by Mrs. Bishop and Miss Bruce,
the two voices moving very soberly and complacently in thirds and
sixths, may do for a boudoir, or a water-party, but in a concert-
room is out of its sphere. We have more pleasure in mentioning
a trumpet concerto, by Mr. Harper, jun., whose performance gave
promise of his arriving, at no distant day, at the same degree of
excellence which his father has long attained. Overtures by
Mr. Youres Chubb, and Mr. German Reed, both in manuscript,
(in which state they had better remain,) were performed, one at
the end of each act. Of the two we infinitely preferred the last —
for it gave us our release. The room was full of company, in-
cluding many boys and girls, most of whom appeared much de-
lighted, and did not spare the palms of their hands, some of which
must have been highly inflamed, if not actually blistered, by the
vigour of their plaudits.

Second Concert of the same, Nov. 23d.

The duties of criticism are not onerous, or at least not irksome,
when there is as much room for praise as blame; but when the
pain of censuring is hardly, if at all, relieved by the pleasure of
approving, then the critic's task is most unwelcome; and the power
he possesses of leading, or influencing, public opinion, is not to be
envied by those who know, or can guess, how many disagreeable
circumstances accompany it.

Scanty as was the praise due to the last concert, we can bestow
still less on the present, so far as the first act and commencement
of the second are concerned. Except a piano-forte concerto,
composed and performed by a youthful aspirant, named Litolfi^,
the execution of which was very neat, and the composition cre-
ditable, the age of the author being considered, we are compelled
to say that a more ' fiat, stale, and unprofitable' performance we
never yet listened to, and can hardly imagine, riot only were
the several pieces destitute of anything indicating genius, but the
manner in which they were executed by the orchestra was such
as would not have been endured at Sadler's Wells in the last age,
and altogether most disreputable, to use a mild epithet.

The common apologetical saying, 'every one must have a
beginning,' is incontrovertible, and much allowance should be,
and is made for beginners ; but there are proper and improper

i)laces for the display of early attempts. As we have above
liuted, the Royal Academy of Music, a school for learners, is the
place in which youthful composers and performers should try
the strength of their pinions, and not elsewhere, until they are
allowedly able to essay a flight exposed to open view. But the
moment that students, actually in a state of pupilage, or only
just emerged from it, present themselves before the public as
orchestral performers, — even as leaders, — nay, as composers of
music of the highest class, — and at a concert too which virtually
challenges comparison — that moment they render themselves
amenable to criticism, from the severities of which, if called for,
nothing but a humane consideration saves them. That these
truths will not be relished we are aware, but they vrill tdtiroately
be found salutary ; ^nd it b much better to be warned than to be
punished.

THE MUSICAL LIBRARY.

But^ to resume: — ^we remained till a 'Fantasia for orchestra,'
(another MS.) was hohbled half through ; when * patience could
endure it no longer.' Whether the composition proved as unin-
telligible to the performers as to ourselves, or whether, like many
others, they became weary of this MS. fantasia, we cannot say,
but certain it is that the band, after much struggling, arrived at
a dead stand-still : — we, more actively inclined, fled away, and
what followed must be left for other musical historians to relate ;
we shall only add, that, when once out, and in the open street,
the rattling of omnibuses, carts, coaches, and cabs, seemed to
our ears less disagreeable tlian usual.

FOREIGN MUSICAL REPORT.

BERLIN.

The middle week of August brought nothing very important to the
musical world. At the Konigstadt Theatre we had Die Goldgroite des
Geister banners (the Golden Grot of the Spirit Raiser), a romantic
original drama of enchantment, in two acts, by J. C. Gulden. The title
shows the species to which the work belongs. Concerning its own par-
ticular merit we have but little to say ; whether it be a degree more or
less piquant^ is of little importance in a critical point of view, whatever
it may be, considering the treasury of the theatre. These pieces must
all be condemned, or, regarding them in a particular light, ail approved.
The public seemed to take but small interest in the piece, and we doubt
whetiier this grotto brought muchgold to the theatre.

M. Hahn of the Cassel Hof Theater performed the High Priest in
Spohr's Jessonda, as a gastrolle *. He has a fine sonorous base voice
in the mezza forte, which, however, did not here tell to much advantage,
being unsuitable to the Opera House. Madlle. Lenz, as Amazili^ and
M. Mantius, as Nadoriy were the stars of the performance, which, with
a few allowances, was certainly meritorious. At the Konigstadt Theatre
we had the opera of Norma^ the three principal parts being newly cast.
Madlle. Vial had the Titelrollef ; Madlle. Gerhard t, Adalgisa; M. Greiner,
Sever, They all took evident pains with their parts, and received the
unanimous applause of the public ; who would, however, have been bet-
ter pleased had they heard Madlle. H&hnel and M. Holzmiller in this
opera.

Lindpainter^B Rosenmddchen (the Rose-girl), the libretto being a
version by Kotzebue, from the French of Theaulon, was brought out at
the Theatre Royal, and the only novelty we have had for some time
past. The subject was rather tediously managed, and indeed had been
already somewhat worn out, having been rendered much more pleasant
in Joconda. The. music (probably an early work of Lindpainter's),
shews a skilful composer ; the concerted pieces are, in particular, very
well worked up ; and the arias melodious and flowing, though, perhaps,
but little adapted to public taste. The orchestral part is especially
laudable ; it differs so much, in its simple style, from the instrumentation
we too oflen hear. This opera pays no regard to the modem tendency of
music, it avoids all clap-trap, and relies on its own absolute merit. When
we regard the meritorious intentions of the composer, we cannot help
regretting that he had not a better libretto to work upon ; since if he had,
he could not have failed making an impression on the public, in spite of
the simplicity of his work. When the public mind is satiated with all
sorts of piquances, it readily turns back to the simple ; and the time may
come, when music of this sort shall be cultivated with success. At any
rate, one has had the courage to offer simple diet to the taste which has
been so palled. The execution was good on the whole ; Mad. Seidler,
Madlle. Lenz, and M. Mantius took tne principal parts, and acquired the
pneise that was their due. For one thing however, we cannot praise them,
that regardless of the character of the whole, they introduced all sorts of
romances, cavatinas, and songs, merely to shew themselves off; things
of this sort are not to be tolerated ; and if a work of art cannot go down
without such foreign aid, it is unfit for representation altogether. The
Rosenmadchen had no occasion whatever for such assistance, which,
while it displeased the admirers of the simple style, gave but little satis-
faction to tnose of a taste more corrupt.

M. Holtzmiller, after a two months' journey, reappeared at the
Konigstadt Theatre, as Tebaldo, in the CapuleH e Montecchi, His
voice which had evidently suffered by his last illness, seemed to be re-
gaining its power, and has since recovered all its former strength ; he
was received by the public with loud applause, and called for at the
conclusion.

Mehul's Joseph in Egypt was lately given at the Theatre Royal, but
much disfigured by the introduction of foreign matter, as, e. g.y the
Finale to the third act.

On the 17th of September, Madlle. Hshnel, who had returned from
ber travels, appeared at the Konigstadt Theatre, as Alaide, in Die Un*

* Ooiirwlle signifies those parts selected for a travelling performer to $tar in. —
Editojb.
t TitelroUe, the part which gives name to the piece, as the part of Macbeih,-^

S01TOK.

bekanute (the Unknown). A fall house, and conUnuous applause, re*
ceived this valuable singer.

M. W. Gabrielski, supported by many distinguished artistes of both
sexes, gave, on the 17th of October, a concert at the Royal York Free-
mason's Lodge, and thus commenced the series of winter concerts.
This excellent player exhibited on the flute the same skill as ever, and
we have pleasure in recording that the concert was well attended.

MUHLHAUSEN IN THURINGEN.

The ever active M. Bentler prepared for the friends of music an espe-
cial treat, in a concert which took place on the Ist of July.

The persons in the orchestra were 160 in number, and consisted of
the Vocal Union, the musicians and dilettanti of the town and suburbs,
and further of some from Guttingen, Gotha, Erfurt, and Langensaiza.
The first part opened with Weber's striking Jubel- Overture, wnich was
excellently played, though some of the jriolin solos might have been
executed with greater power. This was followed by a grand Aria from
Sargin^ * Ha, zu thaten ruft mich die Liebe' (Ha! Love calls me to
action), with clarionet obligato. By this Madlle. Frazisha Heinroth,
from Guttingen, shewed what excellent instruction she had received at
Brunswick since the year 1833. Very justly was she repaid with the
most lively applause, while the clarionet aocompaniment of M. Scholl-
meyer was duly approved. We next heard a young man, named Ernst
Methfessel, play an Oboe-concerto, in a minor, composed by himself.
Both performance and composition afforded great pleasure to the cono-
scenti and nonr-conosctnti. His tone is fine, his skill remarkable ; in-
deed his confidence in the higher passages so remarkable, tliat we may
put him by the side of the most distinguished artistes of the time. As a
composer, he makes us indulge in a hope, that we at length have some
music suitable to the oboe, which has long been a desideratum. The
second and third parts of this concert were occupied by Haydn's Spring
and Summer^ the solos of which were sung by Madlle. Heinroth
(soprano), M. Heinrichshofen (tenor), and M. M. Franke and Botti-
cher (base).

On the whole this went off well. The little faults which occasionally
occurred, were only to be discerned by those who were extremely con*
versant with Haydn's immortal work, and were occasioned by the some-
what inapt organisation of the orchestra, which was too much confined
by the smallness of the space : indeed the director was not visible to
every performer.

Madlle. Heinroth delighted all by her execution of the solos. M.
Heinrichshofen sung better than ever, especially the aria, • Dem Druch
erlieget die Natur' (Nature sinks beneath the pressure). M. M. Franke
and Butticher were obliged to adopt their fine base voices to baritone
parts, which was no less unpleasant to them than to the audience. The
choruses deserved the most admiration, they were, indeed, sung with
the greatest precision. Boys and girls, from ten to twelve years old, sung
the elaborate fugues ; and that difficult chorus, ' Ach, das Ungewitter
naht' (Ah, the Storm approaches), with singular confidence, and their
young throats, combining with the voices of the adult singers, gave a
colouring to the music, which made a great impression on the feelings
of the audience.

The concert was followed by a feast at the Rathskeller*, the saloon
of which, in honour of the solo-songstress, was adorned with the letters
F. H., formed out of roses ;' while garlands of the same were suspended
to the right, and garlands of fresh ears of corn, and com-floweriji, to the
left. In the s^me fashion, the ladies of the Vocal Union had adorned
the further side of the concert-room with garlands, signifymg Spring
and Summer.

STKASBURG.

(This is one of the places whence we do not often have intelligence,
hence the following retrospective review may be acceptable.)

Concerts, — Never had we fewer concerts than last winter, the former
directors of our now dissolved Philharmonic Society could only under-
take two upon subscription.

At the first of these concerts we had, to the overture to Fideho splen-
didly played, a clarionet-concerto by M. Boymond, jun., first clarionet
player at our theatre ; he shews much skill, and when he contrasts his
light and shade a little more, he may expect universal applause.
M. Jupin played, in his usual artistical style, an extremely difficult
rondo brilliant for the violin. The vocal pieces were : a scena from
Donizetti's Anna Bokna^ by an amateur ; a duet from the second act of
William Tell, also by an amateur, and M. Julian, first tenor at the
French theatre; a scena by Lindpainter, with clarionet obligato, sung
by M. Loewe, with his peculiar taste.

At the second concert (which took place on the 23rd of March), we
had, as at the first, no symphony, but two overtures, namely, that of
Jupin's to La Vengeance Ttalienne, and that of Poissl's to Olympia ;
then followed variations for the horn by Loewe, played by M. Koenig,
in a style worthy of being a pattern ; a harp-concerto by Bochsa, played
by Mad, Pfortner (whose maiden name was Frost). The singularity of

* The cellar of the tovrn-haU, which is commonly let oat by the senate fur a
taveniv^EoxTOR.

THE MUSICAL LIBRARY.

bearing a concerto on the harp, with a full orchestral acocnDpaniment,
and the taste and modesty of the performer, excited general interest.
Variations for piano and violiB, by M* and Mad. Jupin Cvf^hose maiden
name was Kuttner), left nothing to desire. A scena from Tancredi^ by
M. Loewe, at the piano; this had a paltry appearance in the Hiddle of a
full orchestra. The Finale of tbe same opera, with the orchestra* sung
by dilettanti and M. Lange, second tenor of the French theatre, did not
go off well.

On the 13th of April, we heard, in the great saloon of the theatre,
M. F. Kalkbrenner, accompanied by a double quartett, instead of a
full band, he played the following: a MS. concerto for the piano, a
duet for piano and violin, from RoherU with M. Jupin» and a fantasia
with variations. Between these pieces we had, a scena from Kossini'a
Corradino^ sunjr by Madlle. Nicolino, of the German theatre; va-
riations for the flute, played by lij. Predigam, correctly, but without
animation, as usual ; variations for the horn, by M. Koenig, very ex-
cellently played ; and a duet from Massaniello, by MM. Lange (tenor)
and Roy (base), accompanied by the piano alone.

Theatricals. — M. Brice, on the 5th of April, opened the Freyburg
Stadt Theatre, with Oberon The preparations were somewhat hurried,
and the opera was not altogether successful. In the musical conduct
of the whole, we could not help remarking the great inattention paid to
time; the Introduction, in* particular, was played so slowly, that it
could scarcely be recognised ; this was, however, made up by the Oriental
march being played as much too fast, and destroying the effect of Reiza*s
song. M. Hartenstein, who performed Oberon, has a good foundation, and
a strong penetrating voice. M. Wappens appeared as Huon^ and displayed
himself in this, as in all other parts, as a finished singer. Sherasmin
was taken by M. Kaibel, whom we were very glad to see once more
amongst us ; his voice has acquired fresh power, and he showed himself as
well adapted for comic as for serious parts. Mad. Illenberger filled the
jpart of Reiza; her vowe is powerful and clear, but wants cultivation;
besides, she always puts on such a sour face, that we forget anything
like sweetness in her singing. Mad. Helil (whose maiden name was
Unzelmann), took FaUma; she has gained much in expression, and
will no doubt still improve. She is able to take not only second and
third, but also first parts. On the 9th of April we had Tancredi:
Assur was plaj'ed M. Wappens, Amenaide by Mad. Illenberger, and
Tancredi by Madlle. Nicolino. This lady was called for at tlie conclu*
sion. We hope that she will continue to improve. M. Leo (base) was
Orbazan; he has a good voice, but wants cultivation, and is not suited
to Rossini's music. Spontini's Ferdinand Coriez was performed on
the 14th of April, M. Roland re- appearing in the part of Cortez, which
he sung admirably. This opera is but seldom performed, on account of
its requiring five tenors ; however, on this occasion it was represented
with all the care possible. M. Schmidt as Montezuma, Mad. Illenber-
ger as Amazili, M. Kaibel as Telasko, M. Leo as the High Priest^
M. Wappens as Alvaro, M. Hartenstein as Rodrigo, and M. Schlogel
as Hemanez, were excellent ; the chorus also told exceedingly well. On
the 20th of April we had ZavherflJote, in which Mad. Reichel (whose
maiden name was Weitner) sung Famina with great applause. M. Rieger
appeared as Sarastro; he is a young man with a very pleasing base
voice, and we feel justified in forming the highest expectations concern-
ing him. The piece, sung by the three ladies, we never heard so well
done ; the fine voice of Madlle. Nicolino was heard with great effect.
M. Wappens was remarkably good as Tamino. On the 23rd of April,
we had Der FreischUtz^ in which Mad. Reichel took the part of Agatha,
On the 21st, 23rd, and 26th, the peasant family of Franz Grassl, from
Schonan, in Bavaria, conwsting of the father, five boys, and two girls,
played on several wind instruments. Without any claim to artistical
excellence, this family performs with great correctness ; sometimes har-
monies in eight parts, with trombone and double base ; sometimes with
tinned instruments alone. The pieces they perform are operatic, or else
marches, waltzes, or the like; the father playing on a little clarionet,
and a child of three years old on a four-cornered flute of their own in-
vention. On the 29lh of April, we h'ad the Sudss Family, Mad. Hebl
playing Emmeline. On the 1st of May, Der Dorf barbier (the Village-
barber). On the 3rd, Preziosa. On the 5th, 8th, and 10th, Euryanihe.
This excellent opera was heard among us for the first time ; that it was
successful will be proved by the following cast: Euryanihe by Mad.
Reichel, Adolar by M, Wappens. Eglantine by Madile. Nicolino. The
beautiful hunling-chorus was always encored. On the 13th, we had
Fidelio ; Mad. Reichel took the iUelrolle, and sung and plaved beau-
tifully. She played Isabella^ in Robert le Diahle, on the' 17th; in
which M. Wappens as Robert, M. Kaibel as Bertram, and Mad. Hehi
as Alice, were very good. On the 19th of May, and 3rd of June, we
had Ctelloy in which Mad. Marra (wbose maiden name was Mina
ScliUffer) took Desdemona. She met with applause, for though her
voice has lost it youthful powers, she makes up the defect by her depth
of feeling, and just declamation in the recitative. M. Roland was ex-
cellent in Otello. Mad. Marra, on the 22nd of June, sung Susanna
to Mad. Reichel's Countess; on the 26th of May, she played Carnilla
in Zampa. William Tell was performed on the 28th and Slst of May,
and on the 14th of June ; at the first representation Mad. Reichel was
Matildaf at tlie last two Mad. Marra. M. Kaibel was very good aa

^ TelL Fra Diawh wav playied on the 4th of June* and La Dame
Blanche (in French) on the 11 tb; Mad. Marra taking the part of
Anna. A new opera, by KlUtner, called Die Koniginn der Sarmaten
(the Queen of Sarmatia), was given on the 13th, or rather three acts
out of the five, being all that could be got ready. This first attempt of
a young composer contains much that is good, though it is somewhat
tedious. The German performances closed on the 16th of June with
Don Juan, in which M. Kaibel aa Juan^ and Mad. Marra as Donna
Annay were excellent.

LEIPZIG.

Our valuable subscription concerts began in the Cloth-hall, on the
' 4th of October, under the direction of M. Felix Mendelssohn- Bartholdy,
who has long made his nsnne dear to us, by his three printed overtures.
On his entering the hall, as director, the audience testified their joy by
the liveliest applause. This also took place at the entrance of our
prima donna^ Madlle. Hen. Grabau. Every thing went off excellently,
everything was applauded. The celebrated overture, Meeresstille und
gluchliche Fahrt (a calm Sea and prosperous Voyage), was j^ayed n
well as could bo expected firom a concert under a new direction.
Madlle. Grabau sung the scena and aria by Weber, introduced into
Lodoiska, as beautifi^y as ever; we are happy to say that her voice is
improved, and that nature seems thus to be lending further assistance ta
art M. Gerbe, a pupil of Spohr's, played his master's violin-concerto^
Na 1 1, with skill, 9nd received applause. The Introduction to Cherabini'a
Ali BaJba was given here, for the first time, in public ; Delia by Mauille.
Grabau, Morgiana by Madlle. During, and Alt Baba by M. Weishe.
The piece is rather heavy, and it was the debiU of the two last-named
performers. Making due allowances, this succeeded beyond all ex*
pectation. The chorus deserves tlie greatest praise. In the second
part we had Beethoven's fourth symphony, and seldom have we heard
it so excellently played. As a new plan, Uie musical director conducted
the symphony, and tliis we think an improvement ; for when the leader,
who must play the first fiddle, does this, he terribly interrupts his own
performance in looking after the time of the others.

On the 9th of November, M. Ign. Moscheles gave an extra conceit
in the Cloth^hidl, which was one of the best attended we ever remember
to have seen. It was remarkable both for what was played, and the
style of the playing. Moscheles' overture to Schiller's Maid of Orleans
opened the concert ; tliis work we consider as of an extremely high
character. The giver of the concert then played to us the first move-
ment of his MS. concerto pathetique in c minor, which is so excellent,
that we could not help regretting that the other parts had not been
written. After an aria, sung with applause by Madlle Grabau, followed
his new concerto fantaslique in b major, which corresponds very aptly
to its name. Mendelssohn's celebrated overture to the Hebrides, which
was beautifully performed, was followed by a duet for two piano-fortea,
Hommage a Handel, composed by Moscheles, and played by him and
Mendelssohn, to the great delight of the public. A fantasia by
Moscheles concluded the whole, and we may truly say, that we never
heard him fantasy in a style so excellent.

At the second subscription concert (which, by the way, was crammed)
we heard Mozart^s symphony ui a major to perfection. Madlle. Wein-
hold sung the scena and aria. Dove son? from Rossini's Torvaldo e
Dorliska, at first with great pain, at last, however, she gav« satisfaction
to the public, and received loud applause. Then M. Moscheles was
kind enough to favour us with his evergreen concerto in a minor. His
overture to Schiller's Maid of Orleans was repeated under his own
direction, and gained tlie applause of a crowded audience. M. Knecht,
from Aachen, played a thema and variations for the violoncello, by Mark,
with skill and taste, and received merited applause. The second finido
in Don Juan^ which is commonly omitted on the stage, was sung by
Madlle. Gtabau, Madlle. Weinhold, Madlle. Doring, M.Gebhard (tenor),
and M. Weishe, and delighted the hearers. The evening concluded with
the double concerto, played at the extra concert, and repeated on this
occasion solely on account of the delight it then afforded. The hall
rang with acclamations of applause.

M. Wild, the celebrated tenor, firom Vienna, has played Masaniello;
he was called for at the end of the fifth and sixth acts, and heard
throughout with the greatest approbation. His singing is very good, as
well as his acting, though both are rattier overdone, and his voice will
improve as it becomes less youthfiil. M. Pogner (base), and Madlle.
Wagner as the Dumb Girl, met with applause. The other parts were
unimportant, save ^at of Vesuvius, wliich peifisrmed its business with
all the requisite Jlre.

BOSTON.

Tremont THBATRB.-*Thc cvcnt of most interest at this house, during
the present month, was the first appearance on any stage of Miss Gush*
man, in the character of the Countess, in Mozart's opera. The Marriage
of Figaro. This young lady possesses musical powers of a very re«
spectable order, and gives promise of future superiority. Her deb^t
was in the highest degree flattering and successful, and, on the ML of
the curtain, she was cheered from all parts of the house.

At a subsequent performance of this opera, Miss Cushman appeared

THE MUSICAL LIBRARY,

«B the Countess, Miss Watson (having recovered from her indisposition)
as Cherubino, and Mrs. Maeder as Susanna. An opera thus strongly
supported could not fail to prove attractive to so musical a people as the
Bostonians, and the theatre was crowded on the jiights when this inte-
testing trio appeared. Sheridan's opera, The Duenna, was brought out,
besides other pieces.

Concerts. — Mrs. Andrews gave her annual concert at ihe Masonic
Temple, on Saturday the 11th of April. She was assisted by the full
orchestra of the Tremont Theatre, and also by the Boston military band,
consisdng of twenty brass instruments. The principal vocal performers
were Mrs. Andrews, Mrs. Kellogg, Miss A. Woodward, Mr. Comer,
and Mr. J. Andrews.

The Handel and Hatdn Society gave a public performance on
Sunday, May 17th. The selections were principally from the oratorio
of the Creation^ and from David.

The Boston Academy op Music. — ^The choir of this institution gave
a performance on the 13th of May, in the Bowdoin-street chnreh. A
considerable portion of Neukomm's new oratorio, Davids was performed.

Mr. E. Kendall gave a concert at the Boylston-hall, on Saturday, the
18th of April. Solos wete performed on the Kent bugle by Mr. E.
Kendal], flute by Mr. J. L. Downe, clarionet by Mr. Kendall, violin by
J. Holloway, besides songs from the principal singers mentioned in the
previous concert, and instrumental pieces by the Boston military brass
band.

Miss Watson gave a concert of sacred music on Tuesday, April the
14th at Amory-hail. On this occasion, Mrs. Watson (late Miss Weils)
made lier first appearance before an American audience. The principal
vocal performers were Miss Watson, Mrs. Watson, Mrs. Andrews, and
Mr. Comer. Instrumental solo performers — flute, Mr. Downe ; clario-
net, Mr. Kendall; trumpet, Mr. Armore ; piano-forte, Mr. Watson.
Leader, Mr. Ostinelli. The selection of music embraced several fa-
vourite pieces from Handel, Haydn, Spohr, Webbe, Comer, &c.

ALBANY.

^ The New York Italian opera company made a visit to this city, and
gave a few performances at the theatre. The first was on the 6th of
April, when Rossini's UAssedio di Corinto was performed ; this was
followed by Mose in Effitto, Ulnganno Felice^ and the second act of
Eduardo e Cristina: the two first pieces were performed twice. In
addition, some favourite overtures, solos, &c., were performed by the
band.

The company also performed Mozart's Requiem^ and a selection from
Mose^ in St. Paul's chapel.

This visit appears to have given the liveliest satisfaction to the Al-
banians, and to have been a profitable one to the company.

NEW YORK.

Mr. Charles E. Horn's Oratorio, The Remission ofSin^ composed ex-

gressly for the New-York Sacred Music Society, was performed at the
ociety's Hall in Chatham-street on Thursday evening. May 7th, 1835,
for the first time ; and to a splendid audience of nearly one thousand
five hundred persons.

The attempt of a composer, who for the last ten years has ranked
among the pre-eminent in England as a dramatic and ballad writer, to
soar above his former efforts, is highly creditable to his ambitious views.
We do not rest solely on our own judgment in classing this work among
the first of the kind, for fear we should be accused of partiality ; but
there were many amateurs present, who had visited Europe, also many
foreigners, and eminent professors from Germany, Italy, France, and
England, who all joined in its praise, and in pronouncing it a work of
decided merit.

PHILADELPHIA.

The Musical Fund Society of this city performed nearly the whole of
Haydn's oratorio of the SeasonSy on the 90th of April : some few pieces
were omitted on account of its great length. The spacious hall of this
society was filled by a highly fashionable audience ; the predominance
of the female portion in their gay attire rendered the scene ^ite brilliant
and imposing.

The Philadelphia SAcmED Music Society gave a public perform-
ance in the hail of the Musical .Fund Society, on the 14th of May, A
composition of Andreas Romberg, entitled ' The Transient and the Eter-
nal/ was brought out for the first time in tliis country.

PITTSFIELD.

The spirited Sacred Music Association of this place gave another ora-
torio on Thursday evening, April 9th. Conductor, Mr. John C. An-
drews : vocal leader, Mr. Lvman Wariner. The selection of music
embraced some of the finest choruses of the great masters, viz., Handel's
* To thee, cherubim ;' Haydn's • Lo, he cometh ;' Beethoven's * Halle-
lujah to the Father ;' besides various pieces by Arne, Chappel, Hast-
ings, and Andrews.

THE DRAMA.

Drurt-Lanb Theatre.

On Thursday, October the 29th, was produced the The Siege of JRo*
chelle, * a new, grand, original opera, founded on the popular work of
Madame de Genlis,' the authorised book of the songs, &c. tells us. The
characters are —

Coam/ de Rotemberg •

Mar^f^ de Fa/mow, (in love with Ciara)

JUoniaibtw, (reputed father of CUara)
Azino, (a Monk) • • •

Michel, (Servant to the Count) •
Corporal Schwartz • •

Princets Eupketma, (wife of Roeemberg)
Clara . •

Marcella, (wife of Michel) •

Mr. Seouin.

{Mr. Wilson,
a/lertpards
Mr. Tbmplston.
Mr. GiuBiLXi.
Mr. Hbdvord,
Mr. U. PuiLLipa.
Mr. Hknby.

Mrs. ViNiMo.

Miss SaiRBSFF.
Miss Fanny Hbaly.

The sc&ae is in the neighbourhaod of Iloehelte, at the time of the siege
of that town, when in possession of the Huguenots. The heroine, Clara^
having been unjustly accused of the murder of Valmour's infant son, un-
dergoes persecutions and misfortunes of many kinds, in escaping from a
nunnery in which she had been immured, and from the mactunations of
her enemies, among whom her own father appears the most active and
relentless. She is befriended by a humane monk, Azino, who believes
her innocent, and by an honest non-descript character, Michel, half
miller, half courier, and his wife the first of whom is a comic character,
imparting to the piece all the liveliness — a minute quantity — that it can
boast. Clara even awakens a tender sympathy in the breast of the
murdered child's father, who, we are [not told how — or perhaps we did
not hear — happens to be unmarried, and she finally escapes into Ro«
chelle with her ghostly protector, where the whole mystery is unfolded;
Montalban proves to be not her father, but the real murderer, and Clara
turns out to be the daughter of Rosemberg. The culprit is conducted to
prison, and the heroine made happy with the hand of Valmour^ who, at
the moment of these discoveries, assists in taking Rochelle by assault,
and arrives, most opportunely, at the scene of eclaircissement.

Such we believe to be the outline of the-story, but cannot answer for
its entire accuracy, for part of the explanatory dialogue we very indis-
tinctly heard, and the whole drama is so incoherent, so incomparably
weak and absurd, that we quitted the theatre almost as ignorant of the
author's design as we were on entering.

The music of the opera, by Mr. Balfe, has been mentioned in terms of
unqualified praise by, we believe, all our contemporaries : the most ex-
travagant encomiiuns have been lavished on it ; ancf one or two news-
paper crimes have not hesitated to say that we never before possessed
what is worthy to be called an English opera! To oppose such a torrent
of approbation is a most ungrateful task, and requires some courage ;
in fac^ nothing but a sense of duty would tempt us to declare our
opinion on the subject, so painful is it, so unprofitable at the moment, to
raise a single voice against the cry of a multitude.

The Siege of Rochelle is composed after the model of the most mo-
dern Italian operas ; it not only reminds us of the style of Donizetti,
Bellini, &c., butthere are imitations, — ^unintentional, we believe — ^in it of
Rossini, as well as others. The whole, or nearly jo, appeared to us as if
originally set to Italian or other foreign words, so ill do the English
verses suit the greater part of the music. In several instances the syl-
lables are double the number that the notes ought to have carried ; and
occasionally the air is at open variance with the sentiment expressed by
the words, a defect we particularly remarked in the baUad, ' When I
beheld the anchor weighed.'

As unfortunately happens in all modern operas, the trombones, drums,
and other noisy instruments, are here much too active ; but the play-
going public clamorously applaud clamour, therefore it is, perhaps, ne-
cessary to let them have enough of it : they wDl in time be surfeited, then
the other extreme will assuredly prevail. As we shall next month
enter particularly into the merits of the several published pieces in this
opera, we now chiefly confine ourselves to general remarks ; but the
choruses probably will not be printed, we therefore take the present
opportunity of saying, that one of them afforded us much pleasure —
that early in the first act, ' Swearing death to traitor- slave,* with an
effective harp accompaniment, a bold composition, the rhythm clear, and
the manner popular. The other choral pieces possess little claim to
notice.

Though we cannot say that Mr. Balfe exhibits in this work any ori-
ginal traits, any very refined taste or strong feeling, yet he shows
himself to be a good musician : his harmony is always correct, and his
instrumentation evinces a thorough knowledge of orchestral effect ^
making allowance for that tapage which he, perhaps unwillingly, in-
troduces, in compliance with the existing vicious propensity to noise.

Miss Sbirreff supports her character with great ability, both as singer
and actress. To Mr. Phillips a comic part is assigned, which he per-
forms witli much humour, spirit, and propriety. For the display of his
vocal powers he has nothing worth naming, except in the concerted

THE MUSICAL LIBRARY.

pieces* in which he is a tower of strength ; but these, with the exception
of a Round, or ' Quartette,' ' Lo ! the early beam of morning/ are rather
of an ordinary kind. Valmour was at first personated by Mr. Wilson,
who was soon displaced, and the part given to Mr. Templeton. By
this change a better singer and an infinitely Euperior actor is obtained,
but in the important matter of intonation, a loss is incurred : Wilson is
never out of tune ; Templeton continually. Mr. Seguin's tine voice
and musical knowledge always tell ; it were to be wished that he had a
little more animation. Mr. Giubilei possesses both musical and histrionic
powers, and proved very serviceable on this occasion. The Chorus is
good« the orchestra firm and powerful, the scenery excellent, and the
manager has, in every department, got up the opera in a most liberal
manner.

The success of the Siege of Rochelle did not abate the activity of the
manager, for on the 16th ult, another new piece was brought out, under
the title of The Jewess^ an adaptation, by Mr. PlanchtS, of M. Scribe's
opera. La Juive ; the music by M. Halevy, prepared for the English
stage by Mr. T. Cooke. The following are tne principal characters: —

Tke Emperor Siffinmrnd • •

CardimU de Brogny^ (Pretident of the Council)
7%e Orand Provott of Coiuianee •

I\^ftc€ Leopold . • • •

TAtf Biihop of Qmttanct • •

£/(n&ri»r, (a Goldsmith'^ • • •

jTie Prineeu Eudoeia ' • •

ilaeAe/ (the Jewess) • • • •

Mr. Kino.
Mr. Wards.
Mr. GiuBiLu.
Mr. Coopkr.
Mr. Srouin.
Mr. Vanobmbofp.
Miss Forob.
Miss Ellbm Tbbb.

The newspapers are strictly accurate in stating this to be the most
splendid, the most gorgeous specidcie that has been exhibited on the
stage in our time; the multitude of persons employed, the richness, and
not the richness only, but the classical correctness of the costumes, (for
which, doubtless,' we are indebted to the adapter of tlie drama, a good
antiquary,) and the extraordinary beauty^f the scenery, (by Messrs.
Grieve,) would, independently of any other considerations, sufficiently
account for its great popularity. But it has undeniable claims to notice
viewed as a drama. As a story of a semi-barbarous age, it is not
improbable, and keeps up an interest to the close, for the denouement is
reUrded— judiciously reUrded — ^till the very last word. There are a few
incongruities in it, which might easily have been avoided, but tliese are
overlooked, for the sake of its merit as a whole. The annexed outline is
altered from the Morning Chronicle.

The action of the drama is in the 15th century, the scene in the city
of Constance. The citizens are rejoicing for the victory obtained by the
Emperor Sigismund, and his son. Prince Leopold, over the followers of
Huss. EUazar^ a Jew goldsmith, who resides in the square where the
rejoicings are to take place, excites the rage of the people, by working
at his trade during the performance of mass in an adjoining church.
He and his daughter are dragged out of their house, by order of the
bishop, and savagely treated by the populace, firom whose hands they
are rescued by the Prince, disguised as a poor Jew, he having previously
in that character, and under the name of Reuben, gained the affections
o{ Rachel. At this time /lie is betrothed to the Princess Eudoeia. He
is affectionately received by Eleazar / but when the Jew offers to bestow
on him his daughter, stung by remorse for his conduct to his affianced
bride, he avows himself a Christian, and abruptly quits the house.
Racltel follows the supposed Reuben to the palace, and persuades the
Princess to take her into her service. A great banquet is given by the
Princess to the Emperor and Prince ; in which Rachel^ officiating as
cup-bearer, presents wine to the Prince, and discovers in him her per-
jured lover. Eleazar entering at the same moment with a necklace
which he had sold to the Princess, makes the same discovery. Rachel^
maddened by jealously, denounces Leopold^ as guilty of intimacy with a
Jewish woman, proclaiming herself, in her frenzy, as his paramour.
The Prince is arrested, and both he and the Jewess are conveyed to
prison, where the Princess visits Rachel^ and by her tears induces her
to retract her accusation. The chief judge is the Cardinal de Brogny,
a historical personage of note, who rose from the situation of a shepherd
boy. Many years before the period of the drama, his palace at Rome
had been sacked by the Neapolitans, when his wife and infant daughter,
as he supposed, perished. The child, however, had been saved, by one
who brought her up as his own daughter, and in his own religion, a fact
well known to Eleazar ; but he, hating the Cardinal who had caused the

death of his two sons, never discovered to him the circumstance. An
interview takes place between the Cardinal and the Jew. Hie Cardmal
telb him that his life and his daughter's are forfeited in consequence of
her £slse accusaUon of a Christian, but offers them pardon, on condition
of their embracing Christianity. The Jew indignantly refuses, adding
that he has the means of revenge in his power, as the Cardinal's
daughter lives, but where to be found is only known to him, Eleazar ;
and this secret he resolutely refuses to divulge, notwithstanding the
agonized Cardinal's entreaties.

The Jew and his daughter are sentenced to the cauldron, which, with
a fire ready, appears on the stage. The Emperor, Cardinal, attendants,
and guard are m readiness to witness the execution. The Jewess enters,
and her father, who had in vain been tortured to make him reveal his
secret, is brought in on a litter, in a dying state. He is asked by the
Emperor if he will save his and his daughter's life, by stating what he
knew concerning the Cardinal's child. Eleazar desires to converse with
Rachel apart : tells her that he can save her by a single word, and asks if
she wishes to live, and, by turning Christian, obtain wealth and splendor.
She determines in the negative, and ascends the steps to the cauldron.
As the fire begins to bum, Eleazar ^ imagining her death certain, exult-
ing, proclaims, with his last breath, that she is the Cardinal\daughter !
Rachel is saved, and the curtain drops.

In the French drama the fatal catestrophe actually takes pkce; Rachel
suffers in the cauldron ; and we are decidedly of opinion that such is the
only legitimate termination, viewing the question critically.

The dialogue between the Cardinal and Jew is of a very curious na-
ture ; the latter is allowed to have by far the best of the argument.
What does Exeter-Hall say to this? Though as the beaten mterlocutor
is a Catholic, perhaps the offence admits of much palliation.

The music of The Jewess consists of an overture, choruses, marches,
and many instrumental pieces, accompanying the dances and stage ac-
tion. It is all of a very ordinary — we might almost have said flimsy —
kind. The acting of Miss Tree and Mr. Vandenhoff is excellent ; and
the other characters are well sustained.

Theatre Royal, Ltceum.

The attempt to keep this theatre open, even at reduced prices, after
Drury Lane, Covent Garden, the Olympic, &c., had commenced their
winter season, entirely failed, the manager therefore made another effort,
which appeared to us extremely hazardous ; he aeain lowered the terms
of admission, and fixed the box price at two shillings, the pit at one,
and the gallery at sixpence ! It has been stated, that he had previously
so much curtailed his expenditure, that a house tolerably well filled,
even at these prices, would be a security against loss. But in theatrical
concerns, it is well known that receipte keep pace with disbursements.
A large expenditure implying first-rate performers, good writers, and
composers, and a liberality amounting almost to profusion, in the man-
ner of reviving what is old, and bringing out that which is new, is pretty
certain of being followed by proportionate receipts. Tlie economy
which is apparent to the public, is false economy. The savings re-
sulting from good management are out of view.

Nothing has been produced at this house, since our last, to induce
us to visit it. We hear that it fills, and, trusting that such report is
true, we hope that the manager may be encouraged to take some bold
step, and bring fortune to his theatre by enterprising violence.

TO OUR READERS AND CORRESPONDENTS.

A Suhtcriber is informed, that the accompaniments to the Overtures are, in our
work, incorporated with the piano-forte arrangements.

With many thanks for the obliging ofiers, we beg leave to decline the Song, and
Ballad, of our correspondents N. and G., as well as the Rondo by H. W, 7*.
The Fantasia recommended by N. is copyright.

*«* Reviews of Tkt Siege of RockeUe, and several other works, are necessarily post-
poned tiU our nest

bruatum in oua last.
Page 3, column 2, line 30 from the bottom^ for Singgeteli read Jung^eteli.

LONDON- CHARLES KNIGHT, 22, LUDGATS STREET.

PuMTBD Bx W* CLOWES Aim SONS, Dou Stbbiti Lambxte.

MUSICAIi L.IBRARY.

No. XXII- JANUARY, 1836, Price Sixpence.

TheMosie of Part XXII.' ^

Ecdesiastical Cboin of Great Britain and
Ireland 27

CONTENTS.

Pace

Correspondence of Zelter and Goethe • • • 28
On the Romantic in Music •••••• 30

Concert! da Camera .31

Reyiew •••'•• 1^

Foreign Musical Report 34

Drama • • • 36

THE MUSIC OP PART XXII.

Air, and Variations — (Page 41).

By C. GoLLMiCK, a composer who has very recently appeared in
Germany, but of whom we have no knowledge, except what the

? resent work affords, which indicates purity of taste, and talent,
'he subject, the very popular duet, ' Denkst du daran,* from the
opera of Dem cdten Felaherm {The old Qeneral), is a melody
that pronounces' its own eulogium.

Grand March — (Page 46).

One of HiMMEL^s compositions, much used in most of the Con-
tinental regiments, but very little known in this country.

Rondo— (Page 48).

By Mozart, opera 26; a light and airy production, showing
how gracefully the author could trifle.

Sonata — (Page 53).

The first of Trois Sonates, op. VII. ComposSes pour le Clavecin,
ou Piano-forte, par Muzio Clementi. Op. VII. The title
proves this to have been an early work of the author, for it was
evidently written when the harpsichord was the instrument most
generally in use, and the piano-forte in its infancy. But the
whole sonata bears testimony to the vigour of the composer's
imagination, and the maturity of his judgment. Such a union
of free, elegant, original melody, and masterly, yet unaffected,
impressive harmony, is how, unhappily, somewhat rare ; and we
feel justified in asserting, that not one passage, not a single bar,
can be found in the whole work, that is not as fresh, as devoid of
anything in an antiquated form, as if the author had just begun
to shed his lustre on the musical world.

Introduction to Winter — (Page 60).

This, which the composer, Haydn, denominates an Introduction,
(^Einleitung). though he has translated the German by the word
Overture, is the opening of the last part of his Seasons, intro-
ducing the brumal quarter. He has not here painted Winter
* wrathful, and with blustering blasts," but cold and gloomy, all
things

' In wofiil wise bewailing summer past.'

Indeed the sombre character of the latter portion of his oratorio
is one of the reasons, perhaps the chief one, why the whole is so
seldom performed.

MadrioaLi (Second part)— (Page 41).

The words of this second part will be found in our last The
whole madrigal is too long for a single part of J%e MusiccU Id-
brary, we therefore have divided it, as it is our wish to give as
much variety in each part as is compatible with the general
plan of our work.
Vol. in.

Ballad— (Page 48).
The Brook's Lullaby.

Weary wand'rer, repose,

Thy sad eyelids close.
This is thy home — thou shalt dwell with me ;

In bed so deep.

Calm, calm snalt thou sleep,
Till my stream *% quafPd dry by the foaming sea.

Soft pillows are spread,

Oh, rest thy head
In my chamber so blue and so crystal clear;

Ye wavelets, roll,

And lull his soul,
Wavelets, to rock him, oh quick hasten here !

Away, away,

Nor too near me stray,
At your shadow, girl, he will wake with surprise ;

Yet ere you 've past,

Your kerchief cast.
With it I '11 cover the sleeping-one's eyes.

None thy slumbers shall break,

Till all shall wake,
In sleep thou shalt bury both grief and joy.

The moon shines bright

Through mists of night,
And how broadly above us is spread the blue sky !

Lullaby! Lullaby!

The translation from the German is by John Oxenford, Esq*
The Brook, in which some youthful person has been drowned, is
supposed to chant this Lullaby over the corse. The music is by
Rbissiger. (See vol. i., page 50).

Round — (Page 51).

Here, in sweet sleep, the son of Nicon lies :
He sleeps, for who shall say the good man dies.

Composed for The Musical Library, by W. Horslet, Mus. B,
(See voL ii., page 14).

Rondo — (Page 51).

La Vergineila,
Come la rosa,
Soprir non osa
II prime ardor.

La fiamma, il raggio
Che in lei trapela,
Fa poi che suela
II suo roBSor.

Se abbandonate,
ET la meschina,
In sulla spina
LangoMce allor.

THE MUSICAL LIBRARY:

Ma si ntyriva,
Se man gradita,
Al sen r invita
La stringe al cor.

From the opera La Gouvernantey an adaptation of Sheijdan*B
Duenna, made for the King's Theatre, by — Badini, and
produced on that stage in 1779 ; the music by

FERDINANDO BERTONI, ♦

a Venetian, who accompanied Pacchierotti to England in the
above-mentioned year. He was an able and experienced com-
poser when he arrived in this country, having begun his career in
1746, and had successftiUy set operas for the Carnival at Turin,
during seven seasons. He produced many operas, while in
London, which, says Dr. Bumey, exhibited much graceful and
interesting melody, ' and though he perhaps had not sufficient
genius and fire to attain the sublime, yet he is constantly natural,
correct and judicious.' — (Hist Musky vol. iv., p. 514.) In 1785
Bertoni was appointed maestro di cappella to St. Mark's Church,
and to the state of Venice, ' the most honourable and lucrative
situation that a composer can aspire to in Italv.'

La Ferginella became exceedingly popular, and when in
1782, O'Keeffe's Castle of Andalusia, an alteration of his Ban-
ditti, or Lovers Labyrinth, was brought out at Covent Garden
Theatre, the air was introduced and sung by the Signora Sestini
who had performed it at the Italian Opera House to the follow-
ing words, written by the author of the English opera.

Love, soft illusion.
Pleasing delusion,
By sweet intrusion

Possesses the mind.
Love with love meeting,
Passion is fleeting.
Vows in repeating

We trust to the wind.

This must not be taken as a specimen of Mr. O'Keeffe^s
poetry : he wrote it^ not for, but to note8> consequently in
shackles.

Ariette — (Page 54).
Le Doux Mai,

K'avoir jamais qu' une pensi^,

Et n'eprouver qu' une sentiment ;
Avoir toujours I'ame oppress^e

Par un chagrin plehi d*agr<$ment ;
Voir et sentir toujours de m6me,

Matin, et soir, et nuit, et jour :
Voilli comme on est quand on aime !

Voilii le mal qu 'on nomme amour !

Se separer avec tristesse,

£t vouloir 6tre au lendemain ;
Se revoir avec douce ivresse,

Trembler en se prenant la main ; \
Pleurer* rire, espt^rer et craindre,

Souffrir et jouir, tour-i^-toor :
Si c*est un mal, faut il s'en plaindre?

C'est le doux mal qu 'on nomme amour.

Composed by Mehul. (See vol. i., page 14.) The air is, we
believe, in one of his operas : it is now copied from the German
Arion,

(Song— Page 56.)

The hardy sailor braves the ocean.

Fearless of the roaring wind^
Yet his hearty with sofl emotion.

Throbs to leave his love behind.
To dread of foreign foes a stranger,

Though the youth can dauntless roam.
Alarming fears paint every danger

In a rival left at home.

From The Castle cf Andalusia, (see above) written by

JOHN o'KBEFFE.

This most lively and entertaining dramatic author was bom in
the land of wit and gaiety.; in &iblin he drew his first breath,
in the year 1746. His father was a native of King's County,
and his mother was an O'Connor. The family of O'Keeffe^ one of

the most ancient and honourable in the sister kingdom, was all
but ruined in the contest between James II. and his successor.
The subject of this notice, however, received a good educatioa
under Father Austin, a Jesuit, who made him thoroughly ac-
quainted with the Latin and French languages. He then
studied drawing, but a defect in his vision compelled him to
abandon the pursuit. At fifteen he produced a comedy, and was
introduced to Mossop, the manager of the Dublin Theatre, who
put him on the stage, and presented him to the public in the
character of Jaffier! He soon quitted the buskin for the
sock, and during the period of twelve years made theatrical
summer excursions with Mossop's company. About 1779 he
came to London, but having been unable to procure any engage-
ment as a performer, at once commenced autiior in good earnest.
Among the many pieces he produced, which are fraught with
humour, and frequently sparkle with wit, are The Son-in-Law ;
Dead Alive; The Agreeable Surprise; The London Hermit;
The Castle of Andalusia ; The Poor Soldier j Wild Oats, 8cc
&c., most of which still keep possession of the stage, and pro-
bably will ever continue favourites with the sensible portion of
the public. In 1800, Mr. O'KeeflFe having entirely lost his sight,
Mr. Harris gave him a benefit at Covent Garden Theatre, when
the manager, or some one in his name, evinced a great want of
good taste, in bringing the sightless author on the stage, merely
to make a humiliating bow. He wisely employed the proceeds
of this performance in the purchase of an annuity, and retired to
Chichester, where, we believe, he lately died.
The music is the composition of

SAMUEL ARNOLD, MUS. D,

This composer, to whom English opera is so larg^ely indebted,
was bom in London, in 1740, and received his musical education
in the King's Chapel, under Bernard Gates and Dr. Nares*.
At the early age of twenty-three he became composer to Covent
Garden Theatre, and in 1766 also undertook the same office at
the Haymarket, then the property of the senior Colman. In
the discharge of these duties he produced about forty musical
pieces, the most popular of which were The Maid of the Mill ;
The Son-in-law; The Castle of Andalusia ; Inkle and Yarico ;
The Battle of Hexham; The Surrender of Calais; The Moun-
taineers, &c. Of music of the grave kind he composed Dr.
Brown's ode The Cure of Saul; the oratorios of The Pro-
digal Son ; Abimelech; The Resurrection ; and The Shunamite
Jroman, which were allowed to be the best works of the kind
since the time of Handel. In 1733 he received the degree of
Doctor in Music from the University of Oxford. Three years
previously to this, an enterprising spirit led him to purchase
Mary-le-bone Gardons, then a place of feshionable resort, from
which speculation he retired with the loss of ten thousand pounds!
In 1783 he was appointed composer and organist to the king,
and in 1793 became organist of Westminster Abbey, on the pre-
sentation of his friend. Bishop Horsley. In 1786 Dr. Arnold
commenced publishing an edition of Handel's works in score,
encouraged by George III., who liberally supported him in the
arduous undertaking. He also printed, in four large volumes, a
continuation pf Dr. Boyce's collection of sacred music. During
many vears he carried on the oratorios at Drury Lane Theatre,
and while these were under his direction he produced The Be-
demption, a compilation from Handel's works, and The Triumph
of Truth, selected from various composers. He died in 1802,
and was interred in Westminster Abbey, with more than usual
marks of respect. A simple tablet, near Purcell's monument,
marks the place where lie his remains. Dr. Arnold married a
lineal descendant of the illustrious Baron of Merchiston, and
left a son — the proprietor of the English Opera-house — and two
daughters. — (Abridged from the Penny Cyclop(sdia.)

Duet— (Page 58).
iJalian queen, to thee we pray,

Record each tender vow :
As night gives place to cheerful day,
Let hopes of future bliss allay

The pangs we suffer now 1 •

From the same opera as the preceding, and by the same author

* In a book recently published, under the title of The Georgian Erm^ a work
abounding in eapon, an idle attempt is made to lead the reader to suppose^ that a
^rman baron was the father of Arnold. There is not the sUglrteet foundation for
any suimise of the kind.

THE MUSICAL LIBRARY.

and eomposer. The original key is B flat^ which carries the
upper part beyond the usual extent of soprano voices : it is now,
therefore^ transposed. Our forefathers seem to have enjoyed
much pleasure in hearing the female voice strained beyond its
natural compass. Most of our Enghsh vocal compositions^ down
to a very recent period^ are incontrovertible evidence of this iaet :
for it cannot be supposed that the nature of the human organ has
undergone any change.

THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN
AND IRELAND.

[Continued from page 16.]

No. III.— WESTMINSTER ABBEY.

THE^ancient authentic records of this foundation bear date in the
reigii of OflFa, King of Mercia, in 785. After his death it was
neglected for two hundred years, when it was restored and en-
larged by Archbishop Dunstan. From that period the Abbots
and Deans are recorded in historical series. But the great and
well-known benefactor to St. Peter's, Westminster (or the Abbey),
was Edward the Confessor, by whom it was amply endowed for
an Abbot and Monks of the Benedictine Order *.

As it is our wish to draw attention to the revenues of this
Church, we shall briefly state what we have collected on the sub-
ject from Dart's Antiquities of Westminster Abbey, Malcolm's
Londinium Redivivum, and private information.

The value of the Monastery at its dissolution was 3,997/. &. 4^d.

GT annum f; of which 3,033?. 17s. OJd. was clear income,
enry VIII. made it a college of secular Canons, under a Dean.
He afterwards converted it into a bishopric, but finally reduced it
to a deanery.

Mary restored the monks ; but Elizabeth again united it with
a collegiate church, under a dean and twelve prebendaries. There
were also appointed a master of the choristers, who had a house
and 41. per annum allowed him, and 3L 6s. 4<i. for each of the
ten choristers with livery, and one bushel of wheat weekly.

The annual revenue of the church after the Reformation is
stated to have been nearly 4,000Z. per annum, — an enormous sum
when the pound of beef was regulated at one halfpenny, and that
of ve&l and mutton at three farthings.

Dr. Busby, Master of the Grammar School, and Treasurer of
the Abbey, has left a parchment book, now in the British Mu-
seum, containing his accounts for one year ; by which it appears
that the salaries of the prebendaries were at that time 281. 5s. per
annum; of the minor canons, 16^.; and of the singing-men,
or lay-clerks, lOZ. That Henry Purcell received, as Master of
the Choristers, 102. per annum ; and for each of these, in addition,
3^ 68. 8d. That the singing-men had 29^. allowed for dinners
on each of nine holidays ; that 81. per annum was allotted for the
organist's house ; and 41. given to ' John Hill for playing on the
comet in the church this year.' All these had likewise other
allowances.

Thus it will appear that the salaries of the prebendaries then
were, in relation to those of the lay-clerks, as 28*25 to 10; or
not .quite three times the amount. What is the proportion
now ?

The present establishment of the Abbey, or, more properly, the
Collegiate Church of St. Peter's, Westminster, is one dean^ one
sub-dean, twelve prebendaries, a precentor, six minor canons, an
organist, a master of the choristers, ten lay-clerks, and ten cho-
risters.

The Deanery is supposed to be worth about 2,000t per annum,
besides a very stately mansion, garden, &c., adjoining the Abbey,
and other emoluments. The prebendal stalls are estimated at
from 800?. to lOOOi., while the salaries of the lay-clerks do not
average more than llOZ. These are made up of the ancient
stipend ; of an allowance for a house ; a sum instead of the tomb-
money, of which we shall have to speak presently ; and an aug-
mentation, as an encouragement] to regular attendance. This
attendance is in the morning at ten, and afternoon at a quarter
past three, every alternate month ; a deputy having been hitherto
allowed for the other months, but paid by his principal. It is in
contemplatit)n, however, in all future appointments, to require the
hty-clerks to do duty throughout the year in person, — a regula

^ Bd«f Aeeount of CiitlMdiia and CoUtgiMs Schoob.
f Bymcr

1827.

tion, whichy if possible to carry into effect, must necessarily
supply the choir with persons of inferior professional rank and
abihtv : for a chorus singer or a fiddler of quadrilles may 90m-
mand as good an income by the exertion of his humble talents,
asj it is sudj is to be allowed to efficient lay-ministers of the
second church in the empire.

The salary of the orranist has hitherto been about 2002. per
anniim^ and he was aUowed to act by dcputy'on the week days.
But it is stated that an agreement was entered into with the suc-
cessor of Mr. Grreatorex, that he should do his own duty twice a
day throughout the year, as well as instruct the choristers, and
all for the reduced sum of 1501. per annum ! Thus» a professor
of a liberal art, a man who ought to be at the head of his profes-
sion — because all who have filled this office have held such rank
— vill be in the receipt of an income about equal to that which
many mechanics derive from the exercise of very useful callings,
but certainly not requiring that education, those manners, and
the respectability of character and connexion, which every in-
stalled officer of the church ought to be enabled to boast.

That the organists of the Abbey have always hitherto been
men of the above description will appear from the following list
of those who have held the office from the time of the Restora-
tion : —

Christopher Gibbons, Mus. D.
John Blow, Mus. D.
Henry Purcell.
William Croft, Mus. D.
John Robinson*.
Benjamin Cooke, Mus. D.
Samuel Arnold, Mus. D.
Robert Cooke f .
Thomas Williams J.
Thomas Greatorex.
The present organist is Mr. Turle, who for many years officiated
as deputy to Mr. Greatorex.

The following are the names of the lay-clerks :
Mr. J. Stafford Smith.
Mr. John Nield.
Mr. J. B. Sale;.
Mr. T. Vaughan.
Mr. J. B. Sale (a second place.)
Mr. J. Marquet.
Mr. W. Knyvett.'
Mr. R. Clarke.
(One vacancy.)
Till very lately a large portion of the emoluments of the minor
canons, organist, and lay-clerks, was derived from what was
denominated tomb-money, or monies received for showing the
church, the monuments, &c. This is now added to the funds
of the Chapter, and an allowance has been made in lieu thereof
but certainly not of equal value ; for it appears, in a reply made
by the Dean and Chapter of Westminster to an order of the
House of Commons for a return of their receipts * arising from
the exhibition of the monuments,' that these for five years were
as follows :— 1821, 6481. I Is. 1 Id.— 1822, 2,317/. 9^. 3rf.— 1823,
1,664L 13s. 9d.— 1824, l,529t 0*. 5d.— 1B25, 1,535J. 0*. 5rf.
The year 1821 was that of the coronation, when the church was
shut up several months, and the receipts were diminished accord-
ingly. If, then, we average the other four years, we shall find
the amount to be 1,761/., which sum, if justly divided, would,
we should imagine, give much more to each mdividual entitled
to participate in such unhaUowed profits, than he now receives
in consequence of the commutation.

Many unsuccessful attempts have been made in the House of
Commons to get rid of this odious tax on the public — this de-
mand for the privilege of seeing that which they have amply paid
for, and which is, lx)th in justice and equity, public property—
this vulgar admission money to view what are meant to excite
emulation, to inspire with noble sentiments, to engender a love of
country, and a devotion to its interests ! — for such are the designs
of the nation when its treasures are bestowed on monuments ia
honour of the mighty dead. But hell is said to be paved with
good intentions; and what avail the best, the most exalted

* John Robinaon, educated in the Chapel Royal, under Dr. Blow, was a very florid
and elegant performer on the organ, insomuch that crowds resorted to haar him* Htt
died at an advanced age in 1762. HawkimU Httiofy, v. 1S2,

t Second son of Dr. Benjamin Cooke.

I The pupil and deputy of Dr. Arnold ud an WBcdlent auueian} cot off aft Sil
evly age by a fimci

Jj 2

THE MUSICAL LIBRARY.

motives, if they are suffered to be thwarted by a self-governed
body^ who can show no legal right to levy so abominable a tax —
a tax as reproachful to the country which patiently submits to it,
as disgraceful to those who enrich themselves by its proceeds ?*

. Why are not the statutes and revenues of this church at once
laid before Parliament ? If the Dean and Chapter are legally
and equitably entitled to divide among themselves nearly the
whole of such revenues, they will not be deprived of their rights
without some compensation. If they hold in defiance of justice,
and can only plead usage as an apology for usurpation, it is high
time that an abuse so injurious to the real interests of the church
should be effectually corrected.

But public bodies are seldom the first to observe the signs of the
times; and ecclesiastical corporations are obstinately deaf to
every warning voice, however intelligible the language in which
impending dangers are announced.

CORRESPONDENCE OF ZELTER AND GOETHE.

[Continued from Page 18.]

No. X.

Jo Goethe.

Your letter of the first of April startled me in the pleasantest
manner. I recognised by whom it was sent, before I opened it,
and expected to find within well-merited reproaches for my un-
grateful silence, which the accompanying contributions must
atone for, as well as they can.

(Here follow matters relating to the young Carpenter, of any-
thing but general interest.)

Of your poems I have onlyjust set to music these I send here-
with. In Der Fruhxeitige Fruhling (the premature Spring),
three stanzas have, of their own accord, fallen into one; indeed a
composer can seldom exercise his will (if he have a will) about
your songs, as they always express ihemsehes. To be sung well
it must be thoroughly learned by heart. From Frau .Tustizrathin
Hufeland I have received Dpx Scha/ers Klagelied (the Shep-
herd's Complaint), and have already composed it at Leipzig. It
must not be sung too loudly, but as lightly as possible. I have
made a vocal piece for your friend De Mappes, but Herr von
Mappes is not contented therewith. Schulz's melody is as good
as possible, but has not dignity enough for a Gennan song, and I
would not willingly do it worse than Schulz. With Schiller s Vier
WeltalUr (the Four Epochs) I have, I think, been happy, at
least I have been successful to the extent of my power. I have
also been setting to music one of Schiller's Romances^ Der Kampf
mit dem Drachen (the Fight with the Dragon), with which I
must be content, as the stanzas in twelve lines are infinitely dif-
ficult for musical rhythm. Were not the poem so long as to ex-
haust a singer, I would put it in my works by the side of Der
Tatu^her (the Diver.)

In the midst of all the sunshine and splendour which I have
enjoyed at your house, I have left behind the five stanzas of your
new Romances, which have pleased nie incalculably, and I must
earnestly intreat you to let me have something of the sort. You
will, perhaps, animate the composition into perfection, if it be not
so already. I truly thank God in my heart* that I have at last
seen your face. The thought of those days will be obliterated only
with my memory. A new spirit was awakened in me by the con-
tact, and if I produce anything worthy of the Muses, I know that
it is a gift, and whence it comes. Commend me to your very
dear family. Zeltkr.

Berlin, 1th April, 1802

No. XL
To Goethe.

By a mistake of my messenger, my letter has been delayed.

(More about the Carpenter.)

For your noble and esteemed Princess, I send herewith a copy
of my little songs, which you will be so kind as to lay at her feet,
in my name. I would have sent ihem to her myself, had I not
thought that by using better hands than my own, these little
things would appear better and more dignified.

* The MoHlh/y Ma ffaxme for October 1832, sarcastically and weU obserres, tpeakiog
of the hardship of making the public pay for a view of their own property — ^thaf they
have an uoduubted right to see ' the great men of England in theii monuments,
Wiikoui beina perpe/uaify reminded of the iiitle <mee*

* Literally, on the kneet ofmff heart: a strange ezpntnonl— TfWM/is/ot*.

On Saturday last Reichardt*s Hercules Tod (Death of Her*
cules) was acted at the new National theatre. The poetry is, I
believe, by the composer, imitated from Sophocles, while the
music is in the style of Gotter*8 Medea, excepting that choruses,
are introduced, which by their grouping produce a remarkably
clear and advantageous connexion. The music possesses much
in which you may recognise the genius of Reichardt, who always
announces himself by bold and grand steps, but its best parts
appear [to me to consist in the periods of repose, which are re-
markably touching and manly. Iffland plays Hercules so nobly
and beaut ifully, and knows so well how to represent the gradusd
pain which mounts to the highest point, and to which the body
alone yields, that he produces a fine mixture of human suffering
with divine strength. The end is particularly grand : Hercules
ascends the pile which is kindled by a flash of lightning ; his
head is illumined from above, and his death is a visible transition
to Olympus.

I send also a letter to Herr Hofrath Schiller, which you will be
so good as to forri-ard. Zelter.

Berlin, 13th April, 1802.

No. XII.
To Goethe*

(Still harping on young Steffany, the Carpenter.)

Now I have a wish which you will easily divine from my
Appendix. The Hercules has been received here with decided
coldness. The cause lay partly in the subject, which was not
digestible enough for a mixed public, and partly in a temporary
animosity against the composer, who a twelvemonth ago was
raised to the skies at the expense of other good masters. This^
for all I care, might be settled by the contending parties, did not
Art suffer thereby, which in its gradual progress towards emi-
nence has to contend with whim, conceit, and ignorance. But I
cannot bear that a work composed so industriouslyj, and moreover
so artistical and well-intentioned, should be cast aside thus con-
temptuously and petulantly, when it has been produced with
unspeakable trouble, and at great expense.

Hence I make this request — ^that you will read what I have
written in the Hercules, It will be my greatest pride if you will
add thereto only a better word ; I shall feel that I have a right to
speak, when all that ought to speak keeps silence. Herr Prof.
Meyer will have the kindness to forward my Essay to the editor
of tne Journal des Modes, to be inserted in the next number. I
desire no compensation for it, and think Herr R. Bertuch will
take it, without any personal acquaintance with me, provided you
have seen it.

The single music- sheet you will have the goodness to give to
Herr Hofrath Schiller. If you would copy these two table
songs, you could try them in the mornine at the theatre during
rehearsal ; the singer must, however, do his best.

You shall soon have more ; and now accept my heartiest
wishes for your own and Schiller's welfare. Zelter.

Berlin, Oth May, 1802.

No. XIII.

To Zelter.

Since, dear Zelter, you last heard from me, I have been chiefly
from home, without making a long journev. At Laucbstadt I
had to superintend the building of a new theatre, and to conduct
its opening, whereat, as is usual in such cases, I had to provide
for the pleasure of others, with but little pleasure to myself.
Then I stayed awhile at Jena, in literary and librarian solitude;
yet neither noise nor silence has produced anything to please the
composer. We hope that a friendly sociality in the winter will
again put us in a lyrical mood, which is most likely to happen if
you execute your design, and come to us again. Give me betimes
a friendly communication on this matter.

(The next paragraph relates to young Steffany.)

The interlude, which I wrote for the opening of the Laucbstadt
theatre^ you will soon see in print At first I had no design to
publish it, as all depended on the occasion, the moment, the indi-
viduality of the actors, the power of the music, and. in short on
the general representation to the senses ; but now what is on
paper may go into the world, and produce what effect it may.

Give me soon.a tok^n of your remembrance. Goethe.

Weimar, ZUt August^ 1802.

TPE MUSICAL LIBRARY.

No. XIV.

To Goethe.

(This letter opens with a quantity of matter relative to a tooth-
ache, and youn^ Stefiany, which we omit.)
Hf I am much delighted at the appearance of your interlude, and
repeat my request mat you will send me the Komance, of which
you read to me five stanzas. As to a little journey next winter,
1 have decided nothing concerning that, since all my family have
been ill during the summer. God knows how glad I am to be
with you % never did the sun shine on me so warm as at Weimar.
I am exceedingly obliged to you for the Hercules ; it has proved
your affection towards me, which I well know how to appreciate.

BerUn, I6th September, 1802. Zelter,

No. XV.
To Goethe.
(Relates wholly to young Steffany, and a son-in-law of Zelter.)
Berlin, 6th October, 1802.

No. XVI.

To Zelter.

(Also of merely private interest.)
JFeimar, 3rd November, 1802.

No. XVII.
To Zelter.

If in these troubled times I ever thought of cheering objects, I
should oftener remember your former agreeable presence. The
hope of soon seeing you again is but slight ; and yet it is my wish
that a thread should continually be spun between us.

Accept kindly Der Graf una die Zwerae (the Count and the
Dwarfs), which I send herewith, and wnich, methinks, for the
first time possesses style and grace. Foster these whimsical off-
springs of marvel in a true musical sense, and amuse yourself
and me for some winter evenings; only do not let the poem
leave your hands, nay, if possible, keep it quite private.
My whole family thinks of you with attachment and love. '
Weimar, 6tk December, 1802. Goethe.

No. XVIII.

To Gk)ETHE.

Some of the members of the Vocal Academy, yesterday evening,
contrived for me a pleasant surprise in honour of my birth-day.
A little play, interspersed with many songs, was very prettily
performed, all my children taking characters. A burletta formed
the conclusion, in which you might have been surprised to have
found our carpenter, Steffany, as a lady of Queen Bathsheba :
he was dressed in the most farcical costume in the world, and
wore a gorget, which excited the laughter of all my family.
Among the many friendly presents of this day was your dear
letter, which I recognised by the superscription, and guessed its
contents by its unusual magnitude. Your beautiful Hodizeit-
lied*^ (Wedding-Song) shall not leave my hands ; and as soon
as it is composed you shall have it, together with the music.
(Here follow some paragraphs of merely private interest.)
The pleasant news, that you are about to communicate some of
jOMT treasures to the world, has again revived me, and I have
since made fresh attempts on your poems. What you once wrote
me, alluding to the First ff alpurgis-night, about the dramatic
form of romances, confirmed me in an inclination which I strove
to develop in the Zauberlehrling (Apprentice in Magic.) The
First Walpurgis-night remained unfinished, because I always felt
the obsolete cantata-style forced upon me. I have attempted
Der MiiUerin Reue (The Repentance of the Millerew), and all
that reniains is to ask, what do you say to it ? Since two must
sing it, it will be well for one to be a tenor. The piece is, I am
sorry to say, somewhat difficult to execute, and must be learned
well, that neither breath nor tongue be defaulter. The tenor
must declaim with great weight and spirit, and the descant must
be consistently mild and tender.

I have conceived the Liebes-gotter Handel (Trade in Love-

* The title to the Fbem, which in the Uii letter, Goethe alluding to the subject,
Iwi eeUed •^ The Count and the Direrft.-

gods), as a little intermexzo in the Italian style. If three girls,
hghtly clad, with neat bird-cages on their shoulders, were to enter
cheerfully and airily in a merry circle, and cry — " Who will buy
Love-gods?" and then. sing the poem lightly and pointedly, it
could not fail of producing a good effect. The piano-forte, which
must be played in an easy style (at any rate, with no passionate
expression), might stand behind a screen in the same room.

May you readily accept what I so readily give ! I would send
you the delight of heavenly tones to Weimar ; since where there
are no gods, there is no heaven. Commend me heartily to
Schiller. Would I could ovenvhelm myself with the joy of going
to beloved Weimar. But I can fix nothing, especially as the
approaching Carnival (when the royal family are at Berlin)
makes me attentive to a duty, which I naturallyconsider obli-
gatory, since it concerns the Vocal Academy. This Institution
enjoys a hospitable privilege in a royal house ; and it would be
painftil for me, if in the higher quarters a demand were made
during my absence, when no one could say a right word for two
hundred persons, and about an unknown matter — aud truly,
means and ends, confused together, would present an extraordi-
nary prospect ; for who can tell how, in our times, a cheerful body
of youths, and a noble body of men, could assemble together in
an orderly manner, and sing a devout Kyrie,

I know not how and why a few beautiful lines in your last
letter have awakened in me a lively desire, which has long re-
mained at the bottom of my heart, unborn or unrecognised. Oh !
a thread will remain which none of the Fates spun, and which
none will sever. My heart knows only one love, which includes
the whole, which readily enters everywhere, and never returns
unstrengthened ; that loves, fearing not the barking of the ^dog
which rattles his chain, because there are also birds which sing.
It is the love for art which endures nothing impure, and lets every
single thing be what it can ; it is the love for your genius, my
esteemed friend, your genius, which ever was, ever will be, and
will never change, no, not its increase and self-eternalizing :
it is a love which fears nothing, and draws life towards life, as it
were a thread. Zelter.

Berlin, \2th December, 1802.

No. XIX.

To Goethe.

I DELAY not to send you what I have composed for the Hochzeit*
lied. It was ready before I sent my last letter, yet I wished to
mature it to perfection. You will find that those stanzas in which
there is a pause after the seventh line, turn out the best; and as
the three rhymes of the fifth, sixth, and seventh verses appeared
to confirm the design of this metre, which was new to me, I have
ordered the modulation according to the second stanza, in pre-
ference to the first.

Der neue Amadis (The New Amadis) may return to his na-
tive land. I have only composed it as an exercise, on account of
the fifth unrhyming line.

Of your unprinted poems, I have to the present moment let
none go out of my hands ; Des Schd/ers Klage (The Shepherd's
Complaint) I did not have from you, and since Frau Hofrathin
Herz desired my composition, and already possessed the poem^
I readily gave it her.

In the manuscript for a new collection of songs by Reichardt,
which I saw at Sander's, I found also Der Fruhzeitige Fr'uhling
(The premature Spring), which Reichardt probably had from
yourself.

They say the King will come to Berlin on the 2lst instant, and
thus the Carnival may finish towards the end of January. The
approaching confinement of the Queen confirms this opinion, and
then I can be at Weimar in the beginning of February, should
not some unpleasant chance disappoint my expectations. You
have offered me your house in so friendly a manner, that I will
accept your offer, provided I do not in the least disarrange your
plans. The room which I occupied before suited me perfectly ;
but I would even dwell in a cellar to be near you. I delight in
the anticipation like a child, and have no other thought.

Berlin, I8th December, 1802. Zelter.

Illusirations to Zelter.
No. X.
Der Fruhzeitige Fruhling. This is a poem of Goethe*s»
written in stanzas of four very short lines.

THE MUSICAL LIBRARY.

The foUowing is a rude verrion t>f tlie first stansa, exact only
as to the metre^ which it is chiefly intended to show.

Soon are ye coming.

Spring's joyoas days !
Woods, hills are blooming

'Neath the sun's lays.

It will be easily seen hoW three stanzas of this description may
fall into one^ especiallv as the whole poem consists of nine.

Der Kampf mit aem Drachen* Most of our readers will
have heard of this poem, and have seen Retsch's outlines thereto.
As it is in the letter cited with reference to its measure^ we give
the following rough version in the original metre : —

Why do the people crowd and throng,
And boist'rous rush the streets along ?
Are raging flames old Rhodes devouring ?
Forth in a torrent all are pouring.
On a tall 8teed a gallant knight
Among the concourse meets my sight.
Besides the crowd are drawing yonder,
A carcase strange, a sight of wonder ;
A dragon's form the beast displays,
Like crocodiles its jaws are shapen.
Th' astonish'd crowd incessant gaze,
Both at the knight and dragon gaping.

This version is any thing but elegant, yet will, we hope, serve
to give an idea of the difficulty of adapting music to such a
metre.

No, XIX.

Hochzeitlted, Called in a previous letter Der Graf und die
Zwerge. The allusions to the metre of this poem are impossible
to be illustrated. We can only refer the conoscenti to the Ger-
man original, in Goethe*s Ballads.

Der neue Amadig. The following is a stanza of this poem^
rendered with a view to the metre.

Fancy bade each moment fly,

Breathed a glowing flame ;

Like King Pepin then was I,

Varrous I became,—-
Traveird thro' the world.

The reader will observe what is meant by the fifth unrhyming
line.

ON .THE ROMANTIC IN MUSIC

{From the German^

When Carl Maria von Weber opened to himself a new path^ by
that work of genius, Der Fretschutz, what is called romantic music
was by several stamped as belonging to a peculiar school, and
many an unsuccessful imitation was attempted under the title
• Romantic Opera.' The wonderful and the legendary were al-
leged to be the necessary foundation of this species : spirits, and
whenever possible, Satan himself, were essential ingredients.
This kind of opera was pronounced to be the only one truly Ger-
man, and opposed to the comic conversation-opera^ and the heroic
opera.

I cannot see what is to be gained by such a classification, or
that it will at all tend to enlighten us on the question of the real
essence of music.

The essence of the romantic was sought for in various contin-
gencies, or single peculiarities : the first united with the second
renders plain the conception of the romantic.
^ My own views of romantic art, briefly shown, may serve to jus-
tify what I have said.

JFirst, I must state, that, according to my views, the romantic
and niusical art are akin to each other, and that all music is of a
romantic nature, — a proposition that will seem paradoxical to
many, but which I shall endeavour to demonstrate.

The source of all the fine arts may be traced to the worship of
God, — to relifi[ion. From this they have sprung; from this were
formed their first rude beginnings, and the general religious feel-
ings of a people have also given an individual colouring to their
arts. The tie of religion and art is so close, that even those who

* It may be objected that (mr lUustntient are ineffular, as we hare given no
note to the ScbKfen Klegelied ; but we infonn our reaoers once for all^ that we in-
tend to take Qo notice of poems alluded to, unless a knowledge of their subject or
metre be essential to the uuderstaading of the l«tler.<^SmTOB.

will not acknowledge It, unooBsoioiisly feel its power. The reli'
gion of antiquity was essentially a natural religion : only among
the Oriental nations the traces of a belief in divine manifestations
display themselves. The art, which sprung from this natural re-
ligion, could not conceive other than sensual deities: it sought
among natural forms for the expression of divinity, and hence in
works of art the nearest approach to Nature*s masterpieces was
held to be the noblest design.

According to Aristotle, the beautiful consists in the Imitation of
nature, a view of the matter, which, in the days of scepticism, e. g,
among the French, revived in all its power.

Plato's views of art and the beautiuil are opposed to these : he
assumes original forms of beauty in the soul of the artist, which
he has brought with him into the world, and which spring from a
former and better state. Thus, he regards most the ideal, while
Aristotle chiefly regards the real.

Grecian art in general bears the character of an imitation,
which is so perfect, that we should vainly strive to equal it, since
we want the eye of the Grecian artist. The summit of human
strength and beauty is, with the Greeks, divine: hence their
heroes are allied to the Gods; hence their Gods, though in
heaven, live after the manner of men.

The spirit of Grecian art displays itself in works of architec-
ture, poetry, and sculpture. This last, which most obviously ex-
hibits the forms of nature, bears very evidently in itself the ele-
ments of the national spirit, and hence ancient ai*t is in general
called plastic.

But with respect to the music of the ancients — what was it ?
Gfr. Weber has, in his theory of composition, long ago called our
attention to this point, namely, that the key to any closer acquaint-
ance with that art. is lost, and that our endeavours to attain it
must fail. We have, we may almost say, less proof that we un-
derstand accurately the expressions of Ptolemy, Plato, and Plu-
tarch relative to music, than that we have sufficiently, and in the
spirit of the ancients, mastered the quantity and mode of express-
ing Greek and Latin words. The scanty remains of ancient mu-
sic afford us no view of that art ; and to increase the confusion,
the Christian beginnings in music have been often mingled with
those remains, and under the name of' Greek' proudly displayed
themselves as the result of investigation into antiquities. Voo
Winterfeld's Joh. Grahrieli will contribute much to the clearing
up of such doubts.

If we consider attentively the choruses of the Greek tragedies,
and combine the expressions relative to music uttered by Plato in
the third book of his Republic, we shall soon be convinced that the
essential beauty of that music consisted in the rhythm, hence in
systematic motion. Indeed the same spirit, which in ancient
sculpture announced itself in space, speaks in the rhythm, but not
otherwise in motion, therefore in time. The rhythm of antiquity,
so far as we can obtain an idea of it by investigating the laws of
metre, is of a plastic nature. Hence music was, as it were, ren-
dered visible by the peculiar arts of motion, namely, dancing and
mimicry. Music was but the servant of other arts; and though
the ancients knew the difference between high and low in sounds,
we have nothing to justify us in assuming that they knew any-
thing of a harmonic base, on which what we call melody depencb.
Rhythm could display itself in tones, but the knowledge of the
combinations of tones was reserved for a later age. The unison of
the Eastern nations of the present day now affords an instance of
that infancy in music.

It is well known how music displayed itself simultaneously
with the rites of Christianity ; how music was the art in whicn
Christian worship was first developed. The power of the musical
spirit was alone calculated to present to the senses the Christian
idea of Deity ; while in ancient times this was done by sculp-
ture, when the divinities in the form of men, filled the situations
of men. This, in the Christian world, could alone be accom-

flished by an art which had for its end the representation of the
nfinite ; an art, the elements of which are varying and fluctuating
—that is to say, music. Sound dies away like the existence <rt ^
man. A pictorial composition remains fixed to our gaze, and thus
embraces the forms of earth. A musical composition has nothing
which it can imitate ; its artist can only represent sensual pheno-
mena, when he has first idealised them.

It was natural enough that the musical art should exert an in-
fluence over other arts. Poetry shows us this in the origin of
rhyme. Harmonic euphony began to gain ground on the rhyth-
mic, and shewed itself not only in rhyme, but in alliteration and

THE MUSICAL LIBRARY.

assonance. Now did all art strive to elevate man to the Infinite —
to God; as the ancients^ degrading Deity, sought to approximate it
to man. Jeao-Paul and Frederich Schlegel have long ago sbovni
that the Gothic style of arehit«cture was designed to express that
endeavour.

In like manner Christian art produced what Is called romantic
art, which is hy many totally misunderstood. The essence of the
romantic art depends on the endeavour of man to soar above the
sphere of his knowledge ; it strives to acquaint us with the unat-
tainable, which no intellect can comprehend.

The opinion will be found correct, that the power of music
completes that of language; that the kingdom of the former
hegins, where that of 3ie latter ends; that without a sweet fancy
being itself in the magic of sound, no genuine musical work can
exist. If we call Beethoven the master of all masters, the reason
is, that he has exhibited, in the plainest yiew, that striving after the
infinite. Every wofk of art requires a form, but to go so far
above it, without annihilating it. was reserved for Beethoven
alone. I place him above S. Bach, because the genius of the
latter was more immediately subservient to divme worship ;
because he did not lose himself, like Beethoven, in the magic of
sound. I place him above all, because he is independent of words,
and lets his inarticulate sounds speak freely for diemselves.

Instrumental music, as E. T. A. Hofimann has justly re-
jnarked, is the most romantic of all arts. However, among
vocal composers there is more than one who is entitled to stand
by Beethoven's side. If he was the mightest in instrumental
music, so was Mozart in another sphere. No other opera com-
poser has expressed the romantic spirit as he has in Dtm Gio-
vannL

Among the moderns the romantic spirit has appeared in Weber
and Spohr : with the former it is almost unbridled ; with the latter
it is more confined.

Mendelssohn and Lowe are to be reckoned among those of
the present day. Yet, in all modem art the free unconscious
power of creation has become rare. The intellectual education
on the one hand, and the mechanical on the other, plainly
exert an injurious influence. That ftincy, which makes indi-
viduality forget itself, becomes more and more scarce, like that
pious childish faith, in which religion first takes root. The age
begins to hate the very essence of the romantic, it desires the
bodily, the sensual. To satisfy this desire, thousands of musi-
cians are prepared, and ready at all times. With these the very
mechanism of music has become living, and the intellect only
reckons upon the effect.

A new effect, however, constitutes neither novelty nor origi-
nality, in a work of art ; therefore, that the romantic should he
misunderstood was inevitable. We had learned to expect from it
outward signs, spirits and wonders, above all things. Thus
Meyerbeer's Robert le Diable must be called a romantic opera,
though there is not the least trace of the romantic spirit to be
found in any part.

Let us then be less liberal with a name which conveys, above
all others, such weighty, such mighty praise. Let us consider
that the romantic is the inmost essence of music, that it is the
mark which distinguishes all modern art from the ancient : hence,
in few words, that in our days every work of art meriting the
name, must be called romantic, and then that appellation is
understood as being the mark of every good work of art in our
time.

It will be objected that the term romantic will in fact not at
all suit many of our most modem works of art. Alas ! such is
the case. They have not proceeded from the exaltation of our
souls to the infinite ; they clave to this earth ; they live but an
apparent life ; they are no productions of the spirit of art, but of
intellect, experience, and labour. This is particularly remarked
in the greater and more comprehensive works. For small, light
pictures, for short, feeling songs, which flash like lightning
through the night, the powers of creating and feeling are yet
sufficient. But even this losing one's self in a number of triflmg
designs, without being able to apply one's self to a single great
work, is somewhat dangerous, llie arts go begging among each
other; we seek the matter, being imable to produce it; while
Raphael painted the Madonna innumerable times, yet ever new,
-—ever with animation. We are poor in matter, because the en-
joyers of art are insatiable. Thus our matter gradually becomes
more real, more prosaic.

Music is a product of Christianity ; instrumental music a pro-

duct of the German spirit. The bias of the German character
to religion here displayed itself in its noblest form. Let us in a
sceptical age, neither in life, nor in art, be robbed of our faith in
what is most sacred.

Breshu. August Kahlert.

CONCERTI DA CAMERA.

THIRD CONCERT, SATURDAY, DECEMBER 5.
ActL

First Quintet in o major, Book 9, fi>r two violins, viola, and tiro violon*
cellos, Messrs. G. A> Griesbach, Richardsi» Sherrington^ Lucas, and
Banister. • •• • • • • • • « Bocchbrint*

Aria, Mr. Homcaatl^ " Deh I per queito isianie solo." {ta Ci^wtmua

«b' THto,) accompanied on the piano-forte by Sir Gteoige Smart • Mosart.

l^e Second Trio m a flat maior, Opera 70 (dedicated to Madame La
Comtesse Marie D*Erdody) for the piano-forte, violin, and violon-
ceUoy Mrs. Andeison> Messrs. H, G. Blagrove aod Lucas • BsST»yrsif.

AfOTiL

Fourth Quartet in b flat major, Opera 76, for two Tiolins, violsi, and
violoncello, Messrs. Watkins, Richards, Sherrington, and Lucas . Haydn.

Recitative and Aria, Mrs. Seguin, '' In ^uali eccessi, oh Numi*'

(// Don Oicvtmrn), • Moeart.

Ghrand Nonetto in f major. Opera 31, for violin, viola, violoneeUo,
coritra-basso, flute, oboe, clarinet, bassoon, and horn, Messrs. H.
G. Blagrove, Sherrington, Banister, Howell, Card, Keating, Powell,
J. TuUy, and Rae Spohr.

Boccherini*s quintet is melodious, smooth, and graceful ; these
are the characteristics of all his compositions : but his productions
are often wanting in that originality which alone gives music
any chance of being transmitted beyond the second generation.
Spohr s trio was performed in a perfect manner^ the piano-forte
part especially, in which Mrs. Anderson displayed sound judg-
ment, as well as the most finished execution.

Haydn's quartet, with the exquisite slow movement, was well
received, but though the first violin part was very accurately
played, we could not but wish that it had been placed in Blagrove's
hands. The nonetto of Spohr is a very masterly work, and was
executed most admirably. The author here displays as much
fancy as science, and though Mozart has in this, as well as in
nearly all his instrumental compositions, been his model, yet
there is no deficiency of what may fairly be termed originality in
any part of the present work.

Mr. Horncastle sang Mozart's fine air in a very chaste agree-
able manner ; and equally correct was Mrs. Seguin in the scena
from Don Giovanni, Perhaps had she ehosen some more simple
air, she would have appeared to still greater advantage. Unfor-
tunately, now, every lady-singer insists on reaching, per salium,
the rank of prima donna, and every vocal piece given is, conse-
quently, such as requires the highest qualifications in the singer
to do it justice.

FOURTH CONCERT, SATURDAY, DECKMBER 19.

Act I.

Second Qtiartet in b flat major, Opera 18, for two violins, viola, and
Tioloncello, Messrs. U. G. Blagrove, Watkins, Sherrington, and
irticas • MOSART.

Cantata, Mr. Horncastle, " Adeluda," accompanied on the piano-
forte by Mr. H. R. Bishop Bsethoten.

Trio for two yioloncellos and contra-basso, Messrs. Lucas, Phillips,
and Howell CoaaxjiJ.

Recitativo ed Aria, Mrs. Seguin, (Can Fm Tui/i) • • • Mosakt*

Tenth Quartet in b flat major. Opera 74, for two violins, viola, and
violoncello, Messrs. H. G. Blagrove, G. A. Griesbach, Sherrington,
and Lucas • • • Bebtbotek.

Act n.

Grand Qiunietto in e flat minor. Opera 87, for the piano-forte, violin,
viola, violoncello, and contra-basso, Messrs. Salaman, Pigott,
Sherrington, Banister, and Howell J. N. HumXIL.

Scena, Mrs. H. R. Bishop, (DeM Falknen Hirawr), accompanied on
the piano-forte by Mr. U. R. Bishop • • • • MARscBznuk

Third Double Quartet in b minor, Opera 87, for fonr violins, two
violas, violoncello, and contra-basso, Messrs. H. G. Blagrove, G. A»
Griesbach, Pigott, Watkins, Daodo, Sherrington, Lucas, and
Howell •••••••«• L. Spobb.

The third concert proved too brief: many having ordered their
carriages at eleven, were obliged to wait half an hour before they
could get away from the rooms. This made some alteration in
the arrangement necessary, and the above program shows an
addition of two pieces.

The quartet of Mozart, a very favourite one, was extremely
well executed. The minuet and trio were loudly encored. Beet-
hoven's quartet is full of originality, and was admirably executed*.

THE MUSICAL LIBRARY. «

Perhaps when more familiar with it^ we may be able to enter into
all the beauties which many very good judges discover in its
various movements. The trio of dorelii — ^made of stuff that will
never wear out — brought forward again the Young Dragcnetti,
Howell ; and the whole was so weU relished by the audience^
that it was called for a second time.

We know few things that equal in beauty and skilful contriv-
ance, Hummel's quintet in E flat minor : every part was now
performed in an able manner^ and listened to with unaffected
pleasure.

M;*. Homcastle sang Beethoven's aria veiy judiciously : the
accompaniment would have been perfect had it been rather more
subdued. The piano-forte sounds louder to the audience than to
the performer, a fact of which few are aware. ' Per pietsL' is not
oke of those compositions in which we delight, and Mrs. Seguin
did not operate any change in our opinion regarding it. The
scena of Marschner has some striking points, which Airs. Bishop
brought fairly out, but it is a mixed work, consisting of both
good and indifferent, and is much too long. Surely it might be
shortened without sustaining any injury.

This performance completed the first series of the Concerti da
Camera, the institution of .which showed a most laudable spirit,
and the performers — themselves the projectors — proved that they
had not undertaken what was beyond their power to execute in a
manner most satisfactory to their numerous auditors, among
whom were nearly all the best amateurs and distinguished pro-
fessors in London.

The success of the Concerti da Camera has tempted another
party to announce three performances on the same plan, under
the title of

CLASSICAL CHAMBER CONCERTS.

Messrs. Mori, Watts, Lindley, and Dragonetti, have associated
for this purpose, and will be assisted by Mrs. Anderson, Madame
Dulchen, Mr. Moscheles, Mr. Neate, and Mr. Bennett. The
first concert takes place on the 4th of January, at Willis's (or
Almack's) rooms.

REVIEW.

Thb Sikob of Rochellb,

A grand Opera^ performed at the Theatre Royal^ Drury Lane; the
words by Mr. Fitzball; the music composed by M. W. Balpb.
(Cramer, Addison, and Beale.)

A QUiBT and deliberate examination of the published music of this opera,
with time to investigate the composer s designs, to analyse his accom-
paniments, and study his harmony, uninterrupted by the clamour of a
theatre, and unconfounded by the din of drums, trumpets, and trombones,
have led us to adopt an opinion more favourable to the work than that
which we formed on once hearing it We find in it greater ingenuity,
a cleverer use of the thoughts of others, with bolder and more effective
colouring, than were at first apparent : and even two or three of the
melodies, not sung in a very prepossessing manner on the stage, stand
in a much better light when brought out of the shade which indifferent
performance cast over them.

We have already given Mr. Balfe the credit due to him for his instru-
mentation, and for the ability he exhibits in this opera. We have, most
willingly, praised him as a harmonist, as one well acc^uainted with the
nature of an orchestra, though we thoughf, and suU think, that he
either is too fond of the strepiioso^ of noise, or that he unwisely sacri-
fices his better judgment to tne now prevailing bad taste of the public.
It seemed to us that the music had not been written to English words,
these being exceedingly crowded, and often falsely accented. We have
since been informed that the opera was at first set to Italian words, and
that the present were adapted to it for our stage. We traced in the
whole work the style of the modem Italian school, — discovered at once
many phrases and cadences of Rossini, so frequently borrowed from
him, and often caricatured, by the herd of his imitators, though cer-
tainly better treated by Mr. Balfe than by the compatriotes of the
• Swan of Pesaro.' In a word, we could not view The Siege of Rochelle
as so original a work as many have declared it to be ; but at the same
time did not dream that the composer had in a wholesale manner
availed himself of the labours of another, that he had produced a kind of
parody on an Italian opera, of which the drama is the same, and the
eharacters nearly similar. Yet of this he is accused. It is stated, but
bv an anonymous writer, that ' The Siege of Rochelle is a mere para-
plurase of Uie Chiara di Rosenberg of Ricci.' Moreover, that the

subject of the popular chorus, * Vive le Boi ! ' is tnu^eable to a glee by
Weber*

* So much has been said concerning The Siege of Rochelie, and the work has ex-
cited so much notice, that we insert part of the letter to which we allnde, with some
remarkB on it by the publisher of the music, together with the reply of the anony-
mooB writer. The first appeared in Tike Examiner of December the 20tfa. After
some observations on what he had said in a former communication, the author pro-
ceeds,—

' So far from haying set an original drama to mosic, Mr. Balfe, it teems, has taken
the plot of his piece from the Ckwra de Jtotenbergf composed by one Ricd. I inrits
yon, Sir, to the inspection of that opera, which wUl at once convince you that tho
Siege of Rockeiie is a mere paraphrase of Ricci's work: the order of the music the
same, the same meaning conveyed in about the same words, the action of the piece
the same. The buffo song and chorus in the commencement has the same Mnn-
chausen-Uke dialogue, *' Serpents with beUs on their tails," with a chorus at inter-
vals, ftc. There is a trio for three bass voices, and a duet, with the production of a
brace of pbtols from a pur of boots, will be found in Signor Ricci's opera, with a
frontispiece representing the same wonderful event. In snort. Sir, I deny that Mr.
Balfe has any right to be criticised as the composer of an original opera, inannMch om
he kai not oniy torrowed ike tubject of the drama of the Chiara de Rotenberg, but the
musioai ideate from the offerture t6 thejimie, I am perfectly aware that several great
composers have set poems' to music on the same subject — ^for example, PaisieUo and
Rossini have both set operas entitled the Barber of Seville, I do not think, how-
ever, that the most hypercritical scrutiny will warrant a charge of plagiarism or imita-
tion on the part of Rossini of his gpreat predecessor — no, Sir, not even an idea.

' That the Siege of Rochelie is a good opera, remains then imdisputed by me; bat
that Mr. Balfe deserves the credit of being hailed as the first composer of the day>
requires some greater effort on his part to maintain than borrowing the ideas of aa
obsaure compt^ser, and then givine them to the public slightly varnished with his own.
brush. Place the scores of Beethoven, Weber, Spohr, or any other eminent masters,
in the hands of Bishop, Horn, Barnett, or T. Cooke, and aUow those gentlemen to
take the same liberties as Mr. Balfe has with the score of Ricci, and they could each
produce you a splendid opera, once a month if needed, throughout the year,— nay,
Sir, they would be enabled to find you a brace of fine operas from each one of the
above-named composers' subjects; and the operas so produced would only lack ono
quality, and that quality — not to be found in Mr. Balfe's drama-*originality.

' I may be told that the chorus, ** Vive le Roi,* is an exception, and that Mr«
Balfe has not borrowed that idea. I cannot say that he has from Ricci's opera—
there is certainly nothing like it in the Chiara de Roeenbergf but when I hazarded
an observation, that the chorus^ " Vive le Roi," might chance to find as much favour
with the minstrels of hand-organs as Webei^s hunting chorus in Der FreitchutXy I
had not looked over six glees composed by that same Weber, and pubUshed at Ber-
lin, and I was not awara of the fact that Weber had treated exactly the tame tubgect
as a glee.

' In conclusion, Sir, if a precedent be set up, such as the Siege ofRocheUe affbrdt^
asclaimi
Barnett.

with < ^ . . .

frankness in confessing fiis adaptations. Few of us knew much atout the music of
Armida, Maometto Seeondo^ and other operas, even composed by Rossini, which ha
has introduced ; and he might have passed fur a composer instead of an arranger,
merely by « wearing his roe with a difference," as Mr. Balfe has done.

' Obsbbvatob.'

To this Mr. Beale^ a partner in the house of Cramer, Addison, and Beale, pub.
lishers of the music, replies, in a letter appearing in the Marmng Chromicle of
December 23rd. He says:.-

. . . . ' It was pretty well known that an opera, the Hbreiio [the drama, or text]
of which was founded upon Mad. Genlis's novel, Le Siege de la Rochelle, and tiie music
composed by Ricci, was in existence before Mr. Balfe produced his opera, founded

Tamburini, assisted in its representation. ^. • . . In Mr. Balfe's opera there are
very few situations that have the slightest resemblance to Ricci's opera ; the whole
of the monastery scene is entirely omitted in the Italian opera.' &c. &c.

This, though most likely intended as a denial of what Obeervalor had' stated, is
not so sati»fKtory as it onght possibly have been, and was followed.by the annexed,
published in the ixaminer of December 27th : —

' S», — Some attempts have been made to reply to my letter on the iutject of
Mr. Balfe's paraphrase of Ricci's opera. I expected as mttch.

'The music ot Mr. Balfe's ''grand original opera** has sold wonderfully well: and
the music-sellers are naturally anxious to give every support to whatsoever may
make money, bad or good — genuine or spurious.

' Among the most vivacious in defence of Mr. Balfe's originality, stands Mr. T.
Frederick Beale, in the Momiftg Chronicle.

'This gentleman gravely informs us that grtai composers frequentljr set poems on
the same subject to music, I believe I quoted the instances of Rossini andPaisiello.
But he has failed to quote '^ the old Critic," as he oaght, to prove that greai authors
have sometimes the same ideas, and that (here is frequently some "damned good-
natured friend" who finds it out. In Mr. T. Frederick Beale'a angiy epiatle, it is
stated that PaisieUo and Rossini composed each of them an II Barmere, and that
Zingarelli and Bellini each composed operas on the subject of Romeo and JuUet, I
defy Mr. Beale, or any other man interested in the affair, to show me any piece in
those operas which has the least inclination towards plagiarism. No musical idea of
the composers on the si^e subject has the slightest analogy. Now, Sir, what rea-
sonable, unbiassed man will pretend to tell the public, that Mr. Balfe would have
imagined the '* Buffo song and chorus," the '* Buffo duet " (the pistol and boot
affiur), and the " Trio for three bass voices" — if Ricci had not previously hit iipoa
the same ideas f Yet Mr. Beale, omitting these three remarkably prominent fea-
tures, gravely tells us that the monastery scene is certainly not composed by Ricci*
therefore it is impossible to tax Balfe with plagiarism. But Ricci's ideas and effects
are, nevertheless, in Balfe's overture, and in those three above-named pieces, and
Mr. Beale does not deny it. la short, Sir, if those who are curious in such matters
will get tiie Chiara de Roeenbera, they will quickly ascertain, that these two greaf
men liave hit, unfortunately, on the same ideas very generally.

' Mr. T. Frederick Beale hat not said one word on the subject of the chorus " Viva
le Roi," and Weber*8 glee— aor does he attempt to deny that Mr. Fitsball had the
task of setting poetry to nrrnsic. In short, in condesc en ding to notice his feeble letter,
I fesr I am wasting tims upon a man of straw.

* I ani| Sir, yorni^ ftc

< Ombbtatob.*

THE MUSICAL LIBRARY.

Of Bicci'B operas we have seen two, in neither of which do
we perceive any other resemblance to the style of The Siege of
Rochelle, than such as must occur in the music of those who imitate
the same original. We have never met with Chiara di Rosenberg^
therefore can offer no opinion on the question in dispute : we have sent
abroad for the opera, and shall liave more to say on the matter when

Sualified to enter into the subject. In the mean time we must observe,
lat the author of the accusation has rendered himself very responsible,
not only to Mr. Balfe, but to the public, and is bound to substantiate
his charge, by entering into particulars, by pointing out the parts said
to be borrowed, and placing them in juxtaposition, if possible, with siich
portions of Ricci*8 opera as, it is allege^, have furnished the English
composer with his best materials.

We now proceed to notice in detail the various published pieces of
The Siege of Rochelle, according to the order in which they are per-
formed.

Overture. This opens with a short Adagio in c, a correct and not
ineffective introduction to the principal movement, an Allegro^ in c
minor, the whole of which is decidedly k la Rossini, and calls to memory
the general character of the overture to // Barbiere di Siviglia; though
it would be unjust to charge the English composer with anything like
direct plagiarism. The passages he has actually adopted are become
public property, in Italy especially, and have been at every body's
service during the last ten or dozen years.

Song, Travellers all, of every station^ a chattering comic air,
which, avowedly, was at first set to Italian words, and thus sung by
Lablache. It is entitled to no further remark.

Chorus, * Vive le Roil* — the most popular piece in the opera, and
certainly well contrived for stage effect. It is simple, with a strongly-
marked rhythm, therefore understood and felt by the whole audience.
A harp accompaniment, effective in the theatre, is omitted in the pre-
sent adaptation, in order, perhaps, to reduce the bulk of the publication.
The following is part of the subject : —

Allegro Moderaio:

g I r- ;^>^ i J ^^

Swearing death to traitor s^aTe, Hand we

r ^ ^^

itzz*

iy clench, sword we draw! Hearn de-fend the true and

Xj brave !

=S=F

p. I

Vive It

Roil

rive

Roil &c.

This, it has been asserted, {see note p. 32) is founded on a glee by
Weber. If so, the plagiarism ought to be exposed. If the charge
remain unjustified, Mr. Balfe will be entitled to much praise for so
striking a composition.

SoNo, ' Mid the scenes of early youths* a very expressive and pleas-
ing air. The motlvo cannot be considered as original, but the accom-
paniment gives a newness of colouring to it, as the first bars will
shew : — /> i . ^

Andante
Sosienuto,^

^^=^

Mid the scenes

fe^

N^ - JA

This is the only really tender air in the opera ; the compass is mode-
rate for a soprano Toice, and to those who admire music of which
feeling is the characteristic, tlie present song may be recommended.

Recit. 5 W}i,y seeks my soul ? ' and Cavatina, • Hope once more*
The recitative is brief. The next movement, * In vain my soul her
image flies,* is in fact the Cavatina : the last movement is an Aria.
The whole, musically considered, is well written, but * has oft been
thought before,* and frequently better expressed. The words are too
often repeated ; where two. or three notes might advantageously have
been set to one syllable, each note takes a syllable to itself, a fault
which cannot be too carefully avoided in setting any northern language
to music. The author here makes Valmour say, * My only joy is grief,*
a declaration which should have been explained, for the benefit of such
dull folks as critics. Perhaps a joke was meant; then Mr. Balfe ought
to have given a comic turn to the music. By4he-way, the composer in
this writes the Italian language as sensibly as his co-operator does the
English : — e.g, * coll, Sves' (page 4) ; ' con dolce* (page 6).

Duet, * Well, if I must speak my mind P A lively conversation-
piece, in two movements ; the last a waltz, and a very common one.
The whole indeed is suited to that part of the audience, whether in pit,
box, or gallery, which is fhore moved by a dance-tune than by the
sweetest melody or the richest harmony.

DuKT and Quartet, * / am alone again P The theatrical effect of
this musical dialogue would have been good had the words been set
with any respect for accent* and had about half the number been written
to the notes. The following is a fair sample of that kind of accentua-
tion and of that multiplicity of syllables, which damage not only the
present composition, but many other pieces in the opera : —

^b <. r r.-U ^

Sec.

Oh!

For him I

vir - gin, his each earth-ly joy,

Parts of this, however, are clever ; but every now and then an Italian
audience would be apt to cry out, 'Bravo, Rossini !* — • Bravo, Meyer-
beer !' — and, if our memory does not deceive us, the subject of the ac-
companiment, running through, is to be met with in a German overture
often performed at the Philharmonic Concerts.

Quartet, ' Lo / the early beam of morning.' We now turn to what
is, in our opinion, the most original, the most pleasing work in the
opera ;• and though not very elaborate, could only have been produced
by a good musician. The annexed is the subject, first sung as a solo,
then combined with a second part, and afterwards woven into a
quartet : —

Lo! the ear- Iv heam of

the ear - 17 heam of mom

IDg

'^^ r ' g-^

Soft

ly chides our Ion - ger

•taji

P IL

ti=ti=

Hark I the ma - tin - bells are chim

uigj

V \' V

Daugh - ter, ve must hence a - vay.

Daogh-

£^-r-T-^

ter, we mutt hence

way.

The accompaniment, as performed, is by well-tuned bells and a harp,
the effect of which is very pleasing. The notes are given in the printed
copy, but the imagination must supply the want of the real instruments.

Song, ' fVhen the merry dance prevails,' An exceedingly pretty
melody, in two movements; the first, larghetio, not the worse for be*
ginning in a manner become English b)r adoption, though ending in a
phrase hundreds of times used by Rossini. But, alas ! the words in the
second movement are so cruelly tortured, by the mode in which they are
accented, that half the pleasure which the music might afford is lost,
and a kind of indignation supplies its place.

Ballad, * 3fy cottage near Rochelle,' In a mercantile sense, thia
is by far the most meritorious effort of the composer, for it sells best.
It is prehy, we grant, and though formed of common materials, is not

THE MUSICAL LIBRARY.

cast in a vulgar mould. But it is quite evident that the niittic was not
$et to the words, for the expreaidon of the one and seoUment of the
other are directly at variance. And» we may add, no composer in his
senses would have written the subjoined notes to soch words:—

wateh'd

Trio, \Time is on the wingy* here printed in the key of f, and
adapted for soprano, tenor, and base, though originally written in b,
for three base voices ; an agreeable glee-like composition, the melody
clear, the whole easy to sing, easy to understand, therefore sure to meet
with admirers.

Air, ' *Twas in that garden.^ A charming air, exhibiting some
original traits, among which, a modulation from d to f sharp, page 1,
is not the least remarkable. The skips too, in the last bar but one of
the same page, are new and pleasing. But the commencement of the
air will remind every one of a Scottish melody.

Duet, • When the reveller is come.' There is certainly much pas-
sion in this, but expressed in the ordinary Italian manner: though
there are some bold harmonies mixed up with the passages commonly
used on such occasions ; and occasionally a Weberian modulation leads
us to hope that we are about to be introduced to the German school
The illusion, however^ does not long continue, — Ausonia predomimites.

DuBT, * The feeling heart* A spirited composition j* though the
words, as in so many other instances, are much too numerous for the
notes, and the accentuation is again of the most erroneous kind. But
for such drawbacks, — ^and serious evils they are — consklerable effect
would be produced by this, in which are clever passages, and two or
three sequences that call up very pleasing recollections of the oklen
time of music. We must, however, add, that these are not the only
reminiscences ; others abound, which deprive the duet of most of its
claims to the merit of originality.

DuBT, * Once a wolf, so fables say^ an ingenious imitation of Cimar
Tosa's * Se fiato in corpo avete.' The melody is good, and the accompani-
ments are full of vigour, shewing the pen of a master. At page 3 is a se-
mitonic progression not very accurately noted : ascending by flats is quite
contrary to rule, and very inconvenient to the singer. But the author
seenis to have soon repented of this, for on giving the subject to the
second voice (page 5), he adopts the orthodox, and best, mode. The
former may be an oversight

The defects of The Siege of Rochelle are, a want of tenderness in
nearly all the melodies ; an excess of power — of loudness — in the ac-
companiments ; the words are too numerous for the notes ; the accen-
tuation is often fatally erroneous; and the composer has too often
called in to his assistance phrases, cadences, and whole passages, that
have long been worn threadbare. On the other hand, the opera dis-
plays much knowledge of music, an active, vigorous mind, a boldness
and richness of harmony, and a freedom in writing, which altogether
kad us not only to hope for, but to expect, much from the future efforts
of the author. One thing he has to fear, — ^the extravagant, fulsome
praises lavished on him by the newspaper press. If Mr. Balfe believes
all that has been advanced in that quarter, he must suppose himself at
the summit of perfection, a persuasion which, almost infallibly, would
at once arrest his progress towards that degree of excellence, which,
doubtless, he wishes to attain.

It now remains to be seen whether the charffe brought against
Mr. Balfe, of having made so unjustifiable a use of Ricci's opera, and
of Weber's glee (as it is called), can be brought fairiy to proof. He
cannot, if innocent, remain satisfied with his publisher's attempt at
refutation : the would-be joke, about Ricci's Awentura di Scaramucciat
is flippant enough, but no argument.

Familiar Dialogues on Thorouoh-Bass and Harmony, &c., illus-
iraied by numerous Examples and Exercises^ by J. JovssR, Pro^
fessor of Music. 12mo. (D'Almaine & Co.)

How many volumes on what is termed thorough-base have been pub-
lished during the present century, and yet how few have maintained
their ground or proved really serviceable ! We are perplexed when
asked to recommend a work on the subject, being acquainted with none
that we consider adequate to the intended purpose. Those who really
understand the science of music seldom know how to write, and such
as are skilful in writing rarely possess deep and practical musical
knowledge.

The very term thorough-base ought to be abolished, and the word
harmony substituted for it. Thorough-base only implies a playing from
a base having figures over it, which now is scarcely ever practised,
excepi by cathedral organists, and not always by them. Harmony in-
cludes all that is meant by thorough-base, with much more, and is
universally applicable in music.

Mr. JouBse's work is as valuable *as most othen thai have fsdlen

under onr notice. He is what is understood by the word orthodox
and repeats what has been said hundreds of times before, without makings
an attempt to improve, though there is so much to amelk>rate, or to
throw the smallest gleam of new light on what yet continues involved
in such unnecessary obscurity. He does not seem to have been avrate
that whoever, in this thinking age, wishes to write a work on what is
called the theoretical part of music, and hopes to be read, must proceed
on a plan almost diametrically opposed to that which \s still, and has so
long oeen, followed.

We have said that the author of the present volume has the merit of
being generally correct. He has, however, been guilty of one inadver-
tency of some importance in theory, namely, at page 19, in stating that
the chord of the 7th is an immediate product of the sonorous body.
According to all hitherto established rule, sonorous bodies give but the
12th and 17th — or. when reduced to least terms^ the 3rd and 5tiu
Much will be disclosed when our knowledge of acoustics is more ad-
vanced than at present : the harmonic 12th may perhaps give its 3id,
and thus the 7th will be produced. But this is mere hypothesis : the
7th is* not yet admitted as a natural harmonic.

1. Brilliant Variations, for the Piana-Forte^ on a Waltz, by Count
Gallbnbbrg, composed by G. A. Osborne. Op. 13. (Chappeli.)

2. RoNno A LA Valse, composed and published as the preceding*

The very elegant walls of Count Gallenberg, in a flat, is well known,
and has often been taken as a theme, but never, that we recollect, been
treated in so appropriate and graeefUl a manner as now. The varia*
tioDs are all, except the last, what we should denominate expressive
rather than brilliant : by the latter term we are, unhappily, taught to
expect passages of mere execution, of no meaning, such as patient
plodding will always master, and few have patience to hear ; but the
present work, though requiring a performer able in every sense kA the
word, is calculated to please, not to astonish, and every really good
player will find that it will secure to him willing listeners, who will re-
gret, not pray for, the concluding note.

No. 2 is a clever composition, in which we meet with something like
originality. After a short introduction, the subject, a waltz in e flat»
commences, and is ably and effectively pursued ; the modulations are
goodt and the interest is kept up, through nine pages, to the very endL

1. Cavatina, * As'the pale flower,* written and composed by J. Au-
GUstiNE Wade, Esq. (Chappeli.)

2. Ballad, • The Fisher's Wife,' the words ,6y C. Knight, Esq.,
the music ^y C. Gutnemee. (Dickinson.)

3. Ballad, 'The old kirk- yard,' by Thomas Hatnes Batlt, Esq;
(Chappeli.)

No. 1 is a very natural, agreeable melody, simply but well accompanied.
This is in fact a voctd rondo, a very pleasing composition, and if the
phrases and cadences are not absolutely new, they at least are not
vulgar.

' We do not often meet with a ballad so well conceived and so ele-
gantly written as ' The Fisher's Wife ;' there is nothing of a common
kind in any part of it, but much that must be highly approved by
critical judges* and that will be more admired by the musical public at
large, the more it is known. The compass is limited, and both melody
and^accompaniment are easy for the performer.

No. 3, in the Scottish manner, is full of feeling: the poetry is in a
pleasingly melancholy strain, and the composition, without being sad
or heavy, is in every way well adapted to it. This and No. 2 we re-
commend to the notice of our readers : they will infallibly please all
who possess an unsophisticated, pure taste.

%* The nview of Hogarth's BSudeai HUtory, and other works, in our neit.

FOREIGN MUSICAL REPORT.

BERLIN.
Musical affairs began to assume a lively aspect towards the middle of
October. A new star appeared in the firmament of song : we allude
to Mad. Masi, whose talent at singing in the modem Italian style was
universally recognized. In the readiness with which she ei^ecutes pas-
sases she resembles Sontag : she is, however, behind her in nature^
alUiough she possesses much grace. The concert given by MM. Gar
brielski at the Freemasons* Lodge has been followed by a second given
by MM. Reis, Mawrer, BOhmer, Just, and Taubert collectively : these
four gentlemen have combined to give a series of musical soirees. What
was newest and most remarkable at this concert, was a composition by
the talented M. B. Gross of Dorpat, Variatkms on the O pescator delP
onda, admurably perfonned by the four artists. The ezeeiitioii by HL

THE MUSICAL LIBRARY.

j»

Taubert of a pUmo-concerto, by Chopin, U deterving of like honourable
mention, since the jpevformer proved that nothing is too difficult for his
powers. At the 'Dieatre Royal, many little half-Italian Operas have
been given, to make use of Mad. Masi. The first of them is tne Kapell-
meister and Prima Donna, put together by Carl Blum.

As October advanced, musical affairs increased in importance. .We
Iiad Rossini's Moses performed at the Konigstadt Theatre. It was not
remarkably successful, which we think is mainly attributable to its being
played in the old form, while at Paris it has been totally remodelled, and
thus become one of the most brilliant works of Rossim. At the Theatre
Royal the progress of the montli brought new vocal phenomena to light.
M. Wigand from Frankfort appeared as Tristan in Jessonda, without
any striking success, but yet sufficient to be named with honour. Madlle.
Beutler acted Donna Anna in Don Juan^ and thereby two faulty
judgments were displayed, viz. : her own in selecting the part, and the
managers in allowing her to perform it Vices of this nature, like virtue,
bring with them their own reward, for the pfeca was universally hissed.

All this was followed by a tremendous incident ; we mean the per-
formance by the Vocal Academy of Groethe's Faust with the late Prince
Radziviirs music. This composition, in conjunction with the powerful
poem, has made an extraordinary impression. The music is, considered
by itself, rich in fanciful invention ; and it is adapted to the words in
the most deep and impressive manner. About the conception of several
single pieces there may be different opinions, but the whole is a great
work, the result of a great mind ; and enthusiasm for the poem has
strengthened, elevated, and preserved indefatigable all the powers of the
composer. The critic must not begin hair-splitting about this or that
particular piece, but regard the whole great attempt, — look at the event.
Such a creation of art is an event, and one of no small importance, — the
animation on its account will last a whole generation, as well as the
powers of the composition.

M. Zimmermann has been giving quartet- soir^s, and the month of
November has been enlivened by the opening of those of M. Ries ; they
were held alternately every Monday at the HStel de Rustie, M. Decker
as pianist has associated himself to the first gentleman, and M. Taubert
to the second : these play the classical chamber-music. On Monday the
2nd of November, M. Ries' quartets opened with one by Haydn in G
major, Mozart's in £ major for the piano-forte, and Beethoven's in D
major. The latter was played very finely.

At the Theatre a little son of our musical director, Moser, has been
heard with great applause. He played a rondo, by Mayseder, in a
manner so chaste, and with such gracefulness, that we would have con*
gratulated many an old player who could have done the same. At the
KOnigstadt we have had a new singer, M. Wolfram, — he may suit the
Opera Buffa, but certainly will never, like Orpheus, nK>ve stones by
his singing. At the Theatre Royal, M. Eichberger appeared as
Robert le Diahle and Masaniello, M. Hauser as Bertram and Figaro j
and both met with applause,

HALLE.

The musical director to the University, Dr. Naue, instituted the third
grand Festival, which commenced on the 20th and ended on the 23rd of
October. The direction of the musical performances was consigned to
Dr. Pr. Schneider. The solo parte were sung by Madlle. Vial of Turin,
Madlle. iJ&gpl of Gera, Madlle. Rose from Quedlinburg, Mad. Helm-
holz of Halle, M. Nauenburg of Halle, MM. Diedike and Krdger
of Dessau. As instrumental artists we had M. Tretbar, clarionetist,
from Brunswick; as violinists, MM. Urbanech and Tomassini, of
Berlin, M. Lindner, MM. Apel and Bartels, of Dessau ; as violon-
cellisto, MM. Drechsler and Lindner; as horn player, M. Fuchs, of
Dessau ; and as trombonist, M. Queisser, from Leipzig. The Orches^
consisting of the Dessau Hof^capell, several musicians from Berlin,
Brunswick, &c. ; the resident amateurs and the Hallesch orchestra,
might together with the vocal chorus be estimated at 400 persons.
Among the greater orchestral compositions may be enumerated — a
symphony by Beethoven (No. 4) ; a grand festival overture by Lind-
painter (composed for the occasion) ; another by Schneider ; and a third
by Mendelssohn. On the second day Schneider's Oratorio, Absalcn
was performed by the whole body assembled.

DORTMUND.

On the 1st of October, the instructors of the Mttrkisch Union solem-
nized their fourth Festival. More than 300 singers, under the conduct
of M. Engelhardt assisted in Ae performance. Above 2000 persons,
including M. Ober-President von Vincke, attended on this occasion.

DRESDEN.
On the 7th of October, a grand mnsica} Festival was held in our
Frauenkirchet (our Lady's Church,) when 2000 persons attended. This
first attempt turned out so well, that we have no doubt about a repeti-
tion. M. J. Otto directed the whole. About 80 instrumental players
and 400 performers altogether, might be enumerated.

G5RLITZ. .
At the church of St. Peter and St Paul, on the 7th of October, the
first vocal Festival of the Oberlausitz Union toek place. M. BliUier, the

fintreprSneur and director ofthe whole, had edntrived that two ehoroses,
jthe male, consisting of 800 persons, and another consisting of about 100
alto and soprano voices, should appear in two indifferent spots, — some^
times together, sometimes alternately and sometimes independently^ —
and sometimes with, sometimes without instrumental accompaniment
An arrangement which was as novel in the idea, as it proved sucoessfrd
in the issue* The choice of pieces performed was equally praiseworthy,
lliere were vocal pieces by H&ndel, Fr. Schneider, Sey fried. Blither,
Bergt, Romberg, B. Klein, &c. In spite of several adverse circum*
stances, the performance equalled the general expectation, and had a
visibly powerful effect on the num^ous audience, many of whom came
from a considerable distance.

THE DRAMA.

Drurt-Lanb Theatre.
No change has taken place in the performances at this theatre since 6ur.
last. The Siege ofRochelle and The Jetvess have been given uninter^
ruptedly every night, and, till very late in the month, fuU houses have
crowned the exertions of the manager. The real attraction, however,
during great part of the time, has been the latter piece :-^gorgeou8
pageantry, including a troop of real horses, alone, in the present state
of the public taste (the play- going public, we mean), will prove an al*
lurement for any considerable time. We learn from good authority-
that the Susge of Rockelle would never have paid its own expenses
after the first four or five nights, had not The Jewesi, or some equally-
popular piece, been joined with it.

An opera, by Auber, the Bronze Horx^ is in preparation, but will
not be brought out till nearly the end of the present month.

Covbnt-Garden Theatre.

The present managers are, we hear, satisfied with their receipts, and
havje no cause to regret the reduction of prices ; we, nevertheless, are
convinced that the old terms of admission — five, three, and two shillings,
would have been the true medium. To these, we predict, both theatres
will at length come.

Three or four new pieces have been produced at this theatre, two of
them with music; but the latter, whether as regards quantity or quality,
has not been of sufficient importance to render any account of it an
object worthy of our attention.

St. James's Theatre.
Towards the end of last August there stood in King Street, St. James*s,
an old building, nearly in ruins, known by the name of Nerot's Hotel.
In a few days it had entirely vanished, and thirteen wqeks after, a
new theatre, complete in all its parts, and constructed for duration as
well as ornament, appeared on its site, and was actually opened to the
public on Monday the 14th of December.

Tlie history of this new establishment may be related in few ^words.
Last spring, Mr. Braham obtained from his Majesty the promise of a
license for a new musical theatre, to be open from the first of October
tlH the end of March. He then purchased the above-mentioned exten-
sive freehold premises, for the sum of 6,000/., and having engaged Mr.
Beazley, the well-known architect, to carry his building intentions into
execution, the structure was begun, finished, fitted up, and opened, in
the marvellously diort period of time before stated ; at an expense, it is
said, of 22,000/.

A description of this new theatre we borrow from the Sun news-
paper, which seems to have obtained its information from a professional
and authorised source.

The fapade is of the pure Roman architecture of the middle ages,
and, though not very extensive, will present, when completed, an ex-
tremely chaste and elegant app^rance. The portico is composed of
six Ionic columns, supporting a stone balustrade ; behind which, and
sustaining the main cornice of the front, is a range of Corinthian co-
lumns, with a richly-embellished entablature of the same order. The
centre ofthe building is appropriated to the box entrance: at the extre-
mities, right and left, are approaches to the pit and gallery. The box
visiters pass through the portico into a small entrance-hall, leading by
a handsome flight of stone steps into a vestibule adjoining the dress
circle, whence two circular stone staircases ascend to the upper boxes
and saloon. The iiront will not be stuccoed until the approaching
spring. When completed, it is intended that the entrance-hall, the
ceiling of which is carved, shall be supported by four imitative marble
columns, between which, in niches* are to be placed six; figures from
the antique.

The interior comprises two tiers of boxes, with slips on each side of
the gallery. The dress-circle, of sixteen boxes, is kept considerably
lower than in any other theatre, so as to place the spectator as ne&rly on
a level with the stage as possible. To effect this tlie back part of the
pit has been saciiflced, the space under the boxes aflfording only stand-
ing room. On each side of the pit, nearest the stage, are two private
hosts, which command a perfect view of the performances, and behind

THE MUSICAL LIBRARY.

it ift a saloon for refmhment. The gmllery is so constnicted as to
admit of the stage being seen from every part — a desideratum in all
otlier theatres.

The lobbies, running entirely round the theatre, are formed of stone
landings and brick wails, so as to prevent the possibility of danger from
fire ; and the staircases are of stone.

The decorations, by Messrs. Grace and Son, after the beautiful style
of Louis Quartorze, are of the most costly and splendid description, and,
as regards theatres, are perfectly unique.

The ceiling, encircled by a carved cornice, on which rest six groups
of children in bas-relief, is composed of rich spreading foliage, branch-
ing out from the centre into six enriched panels, from which are sus-
pended richly-carved sways and drops of fruits and flowers. The ceil-
ing terminates in a cove formed into twelve arches, in the spandrills of
wmch are paintings of sylph-like figures, emblematical of music, and is
supported by caryatides on gilded plinths.

The gallery front is arranged in a series of panels, in a form peculiar
to the style adopted, intersected by circular ones formed of twining
palm, in which are paintings of children, playing on various instruments,
symbolical of the purpose to which the theatre is principally devoted.

The first circle is a series of panels, but varying much in their form
from the above, being much richer and more flowing in their outline.
These contain hiffhly-finished paintings, after the manner of Watteau,
relating to the origin of the Italian drama and pantomime, and between
jthem are smaller panels of gilt trellis work. Over this circle is a carved
canopy, supported by eight highly-ornamented pilasters*
• The front of the dress-circle, which is formed with a bold swell, is
embellished with a carved foliage in high relief, and of most tasteful
design, on which the light, owing to its peculiar form, will strike with
great splendour. This circle has also its canopy and pilasters, but more
splendid ; from the latter spring six handsome girandoles, each bearing
three wax-lights, in addition to a magnificent central chandelier.

The proscenium is quite novel in its decoration, having no drapery at
the top, but a richly-carved undulating line instead. In the three
arches above the stage, wliich form part of the twelve we have described
as belonging to the ceiling, are introduced three beautifiilly-executed
paintings. That in the centre represents the royal arms, from which
children surrounding it are raising a crimson drapery, whilst those on
its right and left are symbolical of comedy and music, also personated
by children ; these are enclosed in a rich frame work, which well har-
monizes with the general design. The lower part of the proscenium
consists of a rich entablature, ornamented with trusses and sways of
flowers, supported by fluted columns, with intersecting enrichments and
splendid gilt capitals resting on richly-carved pedestals. A foliage of
palm, terminating against the entablature, is the decoration of the
upper box, the lower one is formed by a richly-carved canopy.
The box-front is a trellis panel, containing a mask, surrounded by
rich foliage, with frill and shell-work in burnished gold. The whole
of these splendid ornaments, on a white ground, which is the prevailing
colour of the interior, must strike every spectator as having a most
chaste and pleasing effect. The interior of the boxes is a rich crimson.
This beautiful, and, for its size, matehless theatre, opened with a new
opera and two one-act pieces. But previously to the performance, the
following address (written by James Smith, Esq.) was spoken by Mrs.
Selby :—

Hovering 'twixt hope and fear, I come in haite.

To know if what you look on meets voiir taste :

Survey our carving, ponder on our gilding,

And use your hands Mm, if you like the huilding.

You seem well seated in the Muses' bowers;

Crowded, perhaps, but that's your fault— <>not ours.

These ^andoles insure us from the dark ;

Medallions, M^atteau, d la Qrande Monarque.

Pit comfortable, rounded to a tittle ;

Those tall white ladies, who uphold the firiexe,

Are named Car (What ?) Cai^Caryatides,

Perhaps (if here I'm out, suspend your laughter)

So call'd because they carry roof and rafter ;

A petticoat police, on rising salary.

To cry out " Order, order," in the gallery.

We're risen upon you like«a rampant liun,

As Thebes of old was sung up by Amphion«

All's not quite done, we're still in deep committee ;

We mean to start a railroad from the city.

With branches, well secured by bolts and hooks^

To join St James's parish to St. Ldie's.

Critics may cast their burthen from their shoulders ;

JRailing is not confined to joint-stock holders.

Here ends inv tune as trumpeter ; what follows

"Seems an affiur exclusively Apollo's.

That Ood of song, at sixes and at sevens

With mighty Jupiter, who rules the heavens,

Too weak with Jove's red thunderbolts to battle^

Dropp'd down on earth to tend Admetns' cattle*

He struck '' the light guitar" for nine long jwut,

And then^ call'd upwards, to the House of r<

Take down ssy wotdsi reporters, while I tay *i
He left a son on earth, and call'd him Brablam.
From in&at years he now has tuned his lay,
How well, it ill beeomes not him to sky.
Give tit-for-tat— excuse my woman's whim-
He gave his voice to you, give yours to him.
Here in St. James's now he wakes his lyre,
jSnd rears an altar to his radiant sire,
Who views, well pleased, this '' Temple to his praise,*,
And gilds our pulars with his parting rays.
Aid then our ofiering, sanctify our cause,
And grant us, gods, one thunder of applause."

The tide of the opera is Agnes Sorel, the characters of which are thos
cast: —

Ckarle§ FJL, (under the assomed name of Xdmund)
Baron de Undon • . • • •

Cwni Dumoii, (Minister of Charles VII.)
De la Oroite • • • • •

^</o/jpA, (a Page) • • • •

j^lfneM Sorely (Niece to the Baron) • • •

Louite, (her Attendant) • • •

Mr. Barkbb.
Mr. SraBTTOir*
Mr. BaAHAK,

Mr. BABSttTT.

Miss MxLToir.
Miss Olossop.
Miss P. HosTOK.

The heroine is the celebrated mistress of Charles the Seventh of France.
She appears in the drama in her early and pure state, as daughter of a
country gentleman, when she had attracted the notice of the king, and
also of his minister, the Count Dunois, both of whom am enamoured of
her. The minister finds his sovereign residing in the house of Agnes*
father, disguised as a wounded ^officer. They mutually explain the state
of their affections, and the king gives his minister permission to enter
into a fair contest for the lady. Plots and counter-plots take place, in
which the king is worsted, and at length involved in perplexities from
which he can only extricate himself by declaring who he is. But the
sentiments of the fair Agnes in the kingfs favour are sufficiently appa-
rent ; and the result is, prudently, left to be guessed at. There are some
subordinate parts, very pleasant, but of no great importance to the plot.

The author of the drama is Mr. A'Beckett : the music is the composi-
tion of Mrs. A'Beckett, wife of the author.

This, we believe, is the first instance of a female composer having un«
dertaken the arduous task of setting the whole of an opera. The enter-
prise was a bold one ; but the lady accurately estimated her strength,
and her success has proved that she did not overvalue her qualifications.

As the work will come under our notice in its published form, we
shall only state here that it is altogether in the Italian style, though the
composer is no plagiarist. Melody is her forte; but her accompaniments
are mil, without being noisy, and her harmony is rich, without seeming
crowded. There are many beautiful effects in the opera ; and, all cir-
cumstances taken into consideration, we view it, relatively, as a most
extraordinary production.

Miss GlossoD, sister to the composer, appeared for the first time on
the stage on this occasion. Her voice is extensive in compass, and
powerful ; the high notes rather shrill, a defect which exi>erience may
correct. Her style is pure and her intonation perfect. Miss Glossop's
person is much in her favour : her figure is tall, well-proportioned, her
countenance handsome and expressive, and her action easy and lady-like.

Mr. Barker, who, it appears, comes from the Edinburgh theatre, took
us completely by surprise, never having before heard of him* He is a
first-rate singer, and will indeed prove a valuable acquisition. His voice
is a high tenor, his manner that of an experienced musician, possessing
the best taste and the soundest judgment. He is young, handsome, and
well, though lightly, made.

Mr. Braham never sang better or with more effect His voice,
though lowered, sounded as sweetly as ever, and in the energetic pas-
sages, showed that it has not lost the smallest portion of its power. The
manner of his reception, which was almost entnusiastic, must have been
highly gratifying to him, and encouraging also, because evidently meant
not only as an acknowledgment of past and present services, but as
a declaration of the interest the public take in the success of his new
enterprise.

The scenery, dresses, and decorations are all of the best and most
liberal kind. Indeed, we suspect that Mr. Braham has in some things
gone to an unnecessary expense. Every department engaged in this
opera indicated good management, and the success of the piece was most
complete.

The two one-act pieces — The Clear Case^ and The French Company
— are exceedingly comic and entertaining : they kept the audience in a
roar of laughter from beginning to end. Mitchell is an excellent actor :
his dryness and drollery are equally irresistible. In Miss Allison we
have a successor to Mrs. Jordan. In voice and manner she brought
that admirable actress distinctly to our recollection. Bamett, too, pos-
sesses merit of no ordinary kind ; and there are other performers
whom we would wilUngly mention, in a favourable manner, did our
space allow*

LONDON* CHARJLE8 KNIGHT, 88, LUDGATS 8TRBBT.

Wi CLOWXS AMD 80N8^ Don Scuat^ UMmmu

MUSICAIi lilBRARY.

MontHu §inppltnunt

No. XXIII. FEBRUARY, 1836. Price Sixpence.

The Music of Part XXIII.' ^sf

The Sieice of Roehelle ..••... 39
On the Tennt Accompaniment ft Counterpoint 40
Conespondence of Zelter and Goethe • • • 41

CONTENTS.

Paf»
EccleBiastieal Choin of Great Britain and

Ireland 43

The Madrigal Society 43

Society of British Musicians . • • . • 44

Classical Chamber Concerts • • • • • 44

Review •••45

Foreign Musical Report • • • • • • 46

Drama •••••••••••43

THE MUSIC OP PART XXIII.

A Portion of Beethoven's Pastoral Symphony, (Page 61).

The Sinfonia Pastorale of Beethoven is one of the most successful
attempts at musical imitation that we are acquainted with. Even
without the aid of a descriptive program, the sounds and measure
excite recollections of rural scenes^ of the rustic dance, of the
hurry, the confusion, produced by the sudden bursting of a storm,
the crash and rolling of thunder, the serenity which succeeds the
tempest, and the cheerfulness of the peasants on the return of
elemental peace and sunshine.

We have here selected a part of the first movement, which the
composer tells us is meant to describe the cheerful sensations
excited on arriving in the country, — (Erwachen heiterer empfin-
dungen bei der aukunst auf dcm lande) — and the third and
fourth movements, which are meant to pourtray the merry-meet'
ing of the rustics — (Lustiges zusammenseyn der landleute).

Rondo— (Page 68).

By KuLAU, of Copenhagen, the subject of which is Figaros air,
' Non piu Andrai,' in Mozart's Nozze di Figaro.

Rondo, Minuet, and Trio — (Page 74).

From the second of Boccherini's Six Sonatas.

LUIOI boccherini,

a native of Lucca, was born in 1740. His father, a performer on
the double-base, was his first instructor, but sent him to Rome to
complete his studies, under Vannucci. His compositions soon
made him known, and he was engaged by Charles IV. of Spain,
as court-composer. Honours and emoluments were heaped on
him at Madrid, where he continued some years ; but, being no
courtier, he at length offended his patron, certainly by an act of
imprudence, if not of ingratitude, and received his dismission.
His talents, however, had attracted the notice of Lucien Buona-
parte, then ambassador from France to the Spanish court, who
afforded him his protection at a critical moment, settling on him
a pension of a thousand crowns, on condition that he should
compose six quartets annually for his new and generous patron.

Boccherini never quitted Madrid, in which city he died in
1806, and notwithstanding the offence he had given, a part of
the court was allowed to follow his remains to the grave. He
left behind him no less than ninety-three quintets, all of them
published by Janet and Cotelle. He never wrote for the theatre,
and produced but little for the church : himself a violoncelist,
his compositions are nearly all of that^ kind in which his instru-
ment takes the prominent part; and none before him wrote
quintets requiring two violoncellos.

Graceful meloay and tenderness of expression are the chief
characteristics of Boccherini's compositions. Of his Adagios,
Mr. Baillot — an enlightened musician and unprejudiced critic —
has said, ' that they breathe a sensibility so profound, a simplicity
so noble, that all ideas of art and imitation vanish ; and, pene-
trated with a religious feeling, we imagine that some celestial
voice is whispering.*

Vol. hi.

While, however, the desire of strong musical excitement which
now prevails shall last, fragments only of this composer's works
should be performed : one of his quintets in an entire state, proves
rather too much for a modern audience, accustomed as the ear
now is to stimulants of a stronger kind, such as the gentle Boc-
cherini never imagined, or, at least, never attempt^ to admi-
nister.

Air, with Variations — (Page 78).

This gavotte owes much of its celebrity to the renowned dieu de
danse, M. Vestris, who charmed all Paris and all London by his
grace and agility, some sixty or more years ago. The air, how-
ever, has intrinsic merit, or it would not so long have survived
the favourite performer who brought it into notice. The varia-
tions, by M. Hekz, and now selected from others because simple
and adapted to the subject, were written in one of his rational
moments, and are not only practicable by those who bestow a
reasonable portion of time on the piano-forte, but calculated to

{)lease, in a moderate degree, all who have not been taught to be-
ieve that musical beauty consists only in difficulties which people
of sense will never attempt to conquer, and in extravagances which
true taste must ever contemn.

Recit.

Recitative and Aria — (Page 61).

Alma del gran Pompeo !
Che al cener suo d'intorno
Invissbil Taggiri,
Fur ombra i tuoi trofei,
Ombra, la tua grandezza, e un otnbra 6ei !
Cosi termina al fine il fasto umano !
Jeri chi vivo occupd un mondo in guerra,
Oggi, risolto in polve, un urna serra!
Tal di ciascuno, ahi lasso!
II principio k di terra,
£ il fine un sasso!

Misera vita ! quanto e firal tuo state !
Ti forma un soffio, e ti distrugge un fiato.*
Aria, Piangerd la sorte niia,

Si crudele e tanto rla,
Finclie vita in petto avr6.

Ma poi morta d'ogni intomo,

II tirames e notte e giorno,
Fatto spettro agiterd.

Both recitative and aria are from Handel's opera, — his best —
Giulio Cesare, The former is the soliloquy of Csesar over the urn
of his once formidable rival. The latter is unconnected with the

* Dr. Barney, in his Account of the Commemoratiom of Handti, has given the fol-
lowing translation of this soliloquy:—

These are thy ashes, Pompey, this the mound.
Thy siiul, invUible, is hovering round 1
Thy splendid trophies, and thy houours fade.
Thy grandeur, like thyself, is now a shade.
Thus fare the hopes in which we most confide,
And thus the efibrts end of human pride.
What yesterdiy could hold the world in chains,
To-day, transformM to dust, an urn contains I
Such is the fate of all, from cot to throne ;
Our origin is earth, our end a stone !
Ah \ wrotched life I how frail and short thy joys
A hreath creates thee, and a bzeath destroys.^

THE MUSICAL LIBRARY.

recitative^ but at the Ancient Concerts always follows it; we have
ihererore given the two together in the Musical Library. The
recitative — the finest specimen of musical declamation extant —
reqhires^ for the sake of musical effect, to be succeeded l^ an ak
when not performed on the stage. This is the only excuse that
can be offered for the union of two pieces which differ in sense, and
are widely separated in the drama.

The drama was written by Nicola Francesco Hath (see
page 14). The character of Ccesar was represented by the famous
oignor Senesino^ a soprano. — Signora Cuzzoni^ no less celebrated,
was the Cleopatra, and the beautiful Anastatia Robinson, after-
wards Countess of Peterborough, personated Cornelia, the widow
of Pompey.

Glee— (Page 64).

Swiftly from the mountain's brow,
• Shadows, nurs'd by night, retire ;
' And the' peeping sunbeam now
Faints with gold the village spire.

Sweet, sweet, the warbling throng.

On the white emblotsom'd spray !
Nature^s universal song

Echoes to the rising day.

' From Cunningham*s Pastoral, Morning.

JOHN CUNNINGHAM,

a writer of great simplicity and gentleness, was bom in Dublin,
in 1729, where his fatiier pursuecl the business of a wine-cooper,
but who, having obtained a prize in the lottery, became wine-
merchant, and was ruined. The son then, after receiving a good
education, sought his fortune on the stage, for which, however, his
(qualifications were very scanty ; but he engaged himself with an
itinerant English manager, and continued in the theatrical pro-
fession till death relieved him from a life of great anxiety and
occasional difficulty, in the year 1773. To the musical world his
X)oems May-Eve, or Kate of Aberdeen, beginning, —

' The silver moon's enamoured beam,*
and his Pastoral on the death of Shenstone,

' Come, shepherds, we'll follow the hearse,'
are well known; the one as the words of a favourite Scottish
melody, the otlier as set in so exquisiie a maimer, as a glee, by
Dr. Arne.

Song— (Page 70).

Gentle youth, ah ! tell me why
Still you force me thus to fly ?
Cease, oh I cease, to persevere ;
Speak not what I must not hear.
To my heart its peace restore ;
Go, and never see me more.

From Love in a Village, written by Isaac Bickbrstaffe, and
composed by Dr. Arnb.

Coronach* — (Page 71).

He is gone on the mountain,

He is lost to the forest,
Like a summer-dried fountain.

When our need was the sorest
The font, re-appearing.

From the rain-drops shall borrow.
But to us comes no cheering

To Duncan to-morrowl

The hand of the reaper

Takes the ears that are hoary,
But the voice of the weeper

Wails manhood in glory.
The autunui winds rushing.

Waft the leaves that are seaxest.
But our flower was in flushing.

When blighting was nearest.

* < The Coromaek of tlie HiffUsndm, like tbe Ulmialm of tht Romans, and the
Vluloo of the Irifh, wee a wild expreMion of lamentetion, pound forth by the
nournen over the bod^ of a dqparted frknd* When the words of it were articulate
they ezpresied the praisM of the deeeascd, and the loss the elan would sustain by his
death. The Coronach has fyt sooBie years past been superseded at ftmerals by the use
ef the bagpipe; and that also is, like many other Highland peculiaiitiesy falling
into disuse, except in lessote diatiicts»'— <Are/# ^5 Sir JK Seoii.}

Eleet foot on the corri*,

Sage counsel incumber.
Red hand in the foray,

How sound is thy slumber ! .
Like the dew on the mountain^

Like the foam on the river.
Like the bubble on the fouutain,

Tliou art gone, and for ever !

From The Xckfy of the Lake, the well-known poem by

SIR WALTER SCOTT, BART.,

whose history is too fresh in the memory of all admirers of
literary genius to be called for here. It is sufiScient to say, that
this very celebrated writer was bom in Edinburgh, on the 15th of
August, 1771 (the very day which gave birth to Napoleon) j
that his father, Walter Scott, Esq., was a writer to the signet, and
that his mother, Anne, was daughter of Dr. John Rutherford, a dis-
tinguished professor of medicine in the University of Edinburgh.
We will only say further, that Mr. Scott was not possessed of any
shining abilities, but the intellect of his lady was of a high order :
and thus another proof is added to the many already recorded,
that mental superiority is most commonly derived from the
female parent.

Glee — (Page 74).

I.
In holiday gown, and my new-fangled hat,

Last Monday I tript to the fair ;
I held up my head, and I '11 tell you for what.

Young William, 1 guess'd, would be there.
He woos me to marry whenever we meet.

There 's honey, sure, dwells on his tongue.
His words are so soft, and his glances so sweet,

I'd wed — if I were not too young.

He whispered such soft pretty things in mine ear!

He flatter 'd, he promis'd, and swore, —
Such trinkets he gave me, such laces and gear.

That, trust me, my pockets ran o'er.
Some ballads he bought me, the best he could find.

And sweetly their burthen he sung :
Good faith, he 's so handsome, so witty, and kind,*

I 'd wed — if I were not too young.

Written by the above-mentioned John Cukninqham ; composed
and presented to The Musical Library, by

THOMAS FITZHERBERT, ESQ.,

of Swynnerton Park, Staffordshire, the representative of the an-
cient family of Rtzherbert.

» ■ ■■-■^ ■— .^.^—

Arietta — (Page 78).

Or son d'Elena invaghito,

Oggi il mondo 10 do per lei ;
Ma giurare 10 non potrei

Che doman mi piaceriL
E deciso il mio partito

E la bella vanetft.

Or son d'Elena, Ac,

From the melodramma comico, Un' Awentura di Scaramucciay
composed by

Lmai Ricci,

a composer of considerable promise, who has recently started up
in Italy. This is all that we have yet been able to learn con-
cerning him : except, that he is author of Chiara di Rosenberg,
the opera from which it is alleged Mr. Balfe drew some of the
materials for The Siege ofRoaieUej.

DuETTiNo— (Page 80).

Tendre firuit des pleurs de I'Aurore,

Objet des baisers du Zephir,
Heine de rempirt de Flore,

H&te-toi de t*6panouir.

Que dis-je, helas !— diffi^re encore,

Diffi^rt un moment k t'ouvrir :
Le Jour qui d<Ht te faire <$clore

Est celui qui doit te fietrir.

• Coixi— cv Conei— < the hoUov tida of Ihe liill, whew game uenally liee.*— («r

f Of the justice of this charge we can offer no opinion, till the afiival of tho
Ilslita t^pexa^ ivlatii Ire m dAi)]r etpeetingtfom ehroad.

THE MUSICAL LIBRABT.

The words by M. Berkaiid ; the music by J. J. RotnssAU, fit>m'
the volume of his compositions published under the title of Les
CfMMolations dea Miserea de ma Fie. We have given only two out
of M. Bernard's many fttanzas> roost of them being rather feeble.
The accompaniment we Imve added ; and as M. Rousseau'^s base
and harmony are not in this instance always quite correct^ we
have taken the liberty to make a few trifling alterations in both.
The duettino« though a mere bagatelle, is w<M:th preservation in
^an amended state.

THE SIEGE OP ROCHELLE.

The controversy respecting the originality of the music of this
opera did not terminate with the corresipondence inserted in our
last number (page 32) ; nor, indeed, did we expect that it could
be brought to anything like a conclusion without the appearance
of Mr. Salfe himself— the party most deeply concerned — among
the belligerents. Charged as he was with a most discreditable
attempt to impose on the public, his silence would have gone far
to convince us that the accusation was well founded — ^that he
had no defence to offer. But it appears that he is not to be
numbered amon^ those weak or convicted persons who vainly
endeavour to hide their cowardice or screen their misdeeds by
* treating with contempt' (the phrase used on such occasions)
imputations of a serious complexion : he has stepped forward
in propria persona, as he ought to have done at first, and replied
to the allegations of his assailant^ in the following letter, pub-
lished in The Examiner of January the 3rd.

To the Editor of the Examiner.

Sir, — As the author of the music of The Siege ofRochelle, I
waive any complaint as to the criticism on my opera which has
appeared in your journal ; but I cannot pass over the attack upon
my professional reputation, and upon my character and integrity
as a man, which has appeared in The Examiner,

I am charged with having not only borrowed the subject of the
drama of the Chiara di Rosenberg, but the musical ideas from
the overture to the finale. I am thus held forth to the public
(to whom I am so largely indebted for the kind approbation with
which my opera. The Siege ofRochelle, has been received) as an
impostor, and this upon the authority of an anonymous assailant.
In short, that I am receiving the public approbation, which is
not due to me as the author of The Siege ofRochelle, but to Ricci,
the composer of the Chiara di Rosenberg,

To the British public, through your columns, I appeal.

I deny the imputations of the anonymous , and

I dare him to a proof of his charge against me, by any public or
private examination he may choose to point out, of my opera.
The Siege of Rochelle,vnth Ricci's CAtara di Rosenberg, or any
other musical works of any other author he may think proper.
I am. Sir, your obedient servant,

175, Regent-street. M. W. Balfb.

On this the Editor of TTie Examiner observes : —

We have readily given insertion to Mr. Balfe's letter in
answer to the strictures of ' Observator ;* but Mr. Balfe will per-
crive that we have struck out an abusive word which would prove
nothing but his loss of temper, or his want of manners, and
which IS utterly inapplicable to our correspondent, whose honour
is as much beyond doubt as his talents and his accomplishments.
We have of course shown Mr. Balfe*s reply to * Observator,'
whose rejoinder follows.

Friday morning.

Sir, — Mr. Balfe's letter came to liand so late that it is hardly
|K>8sible for me fiilly to answer it by the time your paper goes to
press, yet I cannot allow it to pass without some notice.

Mv assertions have been denied generally, but not particularly,
which would have been an easy task, had those assertions not
been founded on fact I submit, consequently, that my state-
ment still remains unshaken. My assertion, that the musical
ideas firom the overture to the finale were borrowed, can only be
construed that the association of ideas produced by an acquaint-
ance with the Chiara di Rosenberg of Ricci caused the produc-
tion of 3%e Siege ofRochelle, by Balfe. That was my general
position, and a reference to your columns will prove it to have
Seen strongly supported by particular and uncontradicted in-
stances. I pass with contempt the indecency of Mr. Balfe's
language, wluch I perceive. Sir, you have marked for

A good pause is'disgraced by abusive language, and .a bad one
can derive no support from it.

The Une of argument which Mr. Balfe has chosen is also rather
remarki^ble. Is he possesfed of such an exalted opinion of his
own talents, and the prodigious value of his only production, that
he fancies the admiring gaze of the world is fixed on him, and
that he is above criticism, even when conveyed in respectful lan-
guage, and addressed in the usual manner to the pubUc?

In conclusion. Sir, when Mr. Balfe has, by argument, refuted
the criticism contained in my letters, I may condescend to furnish
him with a few more examples. Until, however, I have somo
individual, instead of general, denial, I will not waste my t]m%
your paper, nor the patience of the public, in iterating what %
have so fully and clearly laid down in former letters.

I am. Sir, your obedient, &c

Observator.

P.S. — A copy of Weber's Glee, tending to prove that two
great men may have the same idea^ will be forwarded to the
Editor of 2%c Examiner previous to the next number.

In the rejoinder of Observator, he does not, it will be seezv
enter into further particulars, or accept of Mr. Balfe's challenge ;
neither does Mr. Balfe specifically reply to the particular chargea
in Observator's first letter. It may be said that it is difficult to
prove a negative : the difficulty, however, of proof depends on thfc
nature of tlie assertion to be rebutted. When Observator had stated
that the ' order of the music' in the Siege of Rochelle is the same
as that in Ricci's opera, — ^that 'the buffi) song and chorus^
"Serpents with bells on their tails," with a chorus at intervals,
has the same Munchausen-like dialogue,'-?— that ' there is a trio
for base voices, and a duet, with the production of a brace of
pistols from a pair of boots, which will be found in Signor Ricci'a
opera,' — ^when some particulars had been thus entered into, spe-
cific answers were expected, and, acting under good advice, Mr
Balfe might, probably, have replied in a satisfactory manner.

Not yet having received the opera of Chiara di Rosenberg, we
are still unable to enter fully into the matter at issue ; but having
been fiirnished with a copy of the quartet — or 'glee'— by Weber,
which it is alleged supplied Mr. Balfe with materials for his
chorus ' Vive le Roi ! ' we, without reservation, declare our opi-
nion on this point, and at once say, that, though a general re-
semblance between the two may be discovered, the charge of pla-
giarism cannot be supported. That our readers, however, may-
be empowered to judge for themselves, — that they may have an
opportunity of comparing Weber's quartet with Balfe's chorus, —
we here insert the former, without the words, which are in Ger-
man, and compressed into two staves, our space not allowing of its
being printed in score *.

. J^ : . ._ ^

Ist Sop.
2nd Sop«

Tenor.

'^ 1 ^ , d V

* In an early nimiber of The MuMndJUhnnf we puzpote giving this q,uartet|
nBn^iiditfa«UtMBefthewoidsa«afftedtoit«^

£< 2

THE MUSICAL LIBRARY.

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But while we acquit Mr. Balfe of having made any unfair use
of Weber's composition, — nay, thinking it possible that he never
saw it, — we cannot conceal a fact recently communicated to us,
which proves one of two things ; either that he can treasure up
an air m his memory and forget that it is not of his own beget-
ing, or, that he is not very scrupulous in appropriating to his own
use the offspring of another's imagination.

Some years ago a work was' published by Goulding and Co.,
tinder the title of The Melodies of Various ifations, the words by
Mr. T. H. Bayly, the accompaniments, &c. by Mr. Bishop.
Among these is the subjoined air, which is so nearly identical with
the popular ballad, ' My Cottaffe near Rochelle,' that the simi-
larity cannot by any possibility have been the result of accident

^^^^^

Though nov w% part, SIj mi - guiue heart Laokt

te ^j ^^ g^ ^

foi-wud to a brighter day. When time / shall ^ heal The

The original of the above is m e : we have tfansposed it, that
the comparison may more readily be made.

In our review of 7%^ Siege of Roehelle we hinted that that
opera shows but little claim to originality^ in the strict sense of
the word ; but we were not aware that a case of such undeniaUe
plagiarism could be made out against the commser, as the above
establishes. For the honour of what may, pernaps, be called the
English school of music^ we shall be heartily sorry if an examina-
tion of Ricci*s opera should confirm the charge in 2%e Examvuer.

for yo«» Aad yeo

ON THE TERMS ACCOMPANIMENT AND COUN-
TERPOINT.

To the Editor of the Musical Library.
Sir — As the Musical Library is the only work in England exclastvely
devoted to musical literature, I presume that I may be excused the
liberty of soliciting your attention to the endosed paper, the object of
which is to reduce the principles of musical composition to a concise
and correct classification. The necessity of such an attempt has
frequently suggested iuelf to me, and particularly on observing that,
even in Germany, considerable discrepancy exists between the written
and verbal instructions of the best masters.

Tins circumstance arises principally from the indefinite and erroneous
views which are entertained wiih reference to the terms accompaniment
and counterpoint; for instead of considering them to stand in the
relation of genus and species, they are most generally used indiscrimi-
nately, even in works which profess to make a distinction between them.
An error of some consequence is the result ; — A pupil, for instance,
receives a theme, or canlus Jirmus, from his master, and, on being
directed to write a counterpoint to it, will, in all probability, proceed to
write in the accompanying parts notes of tlie same value with those in the
cantus firmus^ thus mistaking simule accompaniment for contrapunctal.
The fault lies with the definitions or counterpoint which he has received*.

So early as the year 1473, the following definition was given by
Tinctor: — ^ Contrapunctus est cantus per posiiionem unius vocis contra
aliam punctuatim effedus ;' and this definition has been repeated, with
liule variation, up to the present time.

Even Preindl, in his excellent little work entitled Wiener Tonschule^
writing on the term counterpoint, has the following observation :

* Unter dieser Benennung ver^teiit man im weitester Sinne die Verferti*
gung einer zwey oder mefirerer Stimmen zu einer sclion vorhandeuen.'

* By this term we understand in the widest sense the writing of two or
more parts to one already composed.'

And yet, when treating of counterpoint in more than two parts, he
denominates the parts which have notes of equal value with those in the
cantus frmus, not counterpoint, but Begleitung (accompaniment),
zwischen Harmonic (intermediate harmony), ausfGLilung-stinmer (filling
up parts), &c.

Nut only is the usual definition of counterpoint too extenuve, but the
arrangement is too restricted; for in most classifications, whilst provision
is made for those compositions in which the accompanying notes are. to
those of the cantus firmus as 2 : 1 ; 4:1; &c., no provision is made
for those compositions which contain notes standing in the relation of
i : I ; 1 : 1 ; 3 : 1 ; i : 1 ; &c.

To remedy these errors, I beg leave to propose the following defini-
nitions, which suggested themselves after a conversation with my respected
tutor, Herr Eff, Kapellmeister of St. Micliaers Church in Munich, and
which are consistent with the practice of the' best masters in Germany.

I have the honor of subscribing myself, yours, very respectfully,

C^BORGB Kemp. Med. Bac
St Peter's ColL, Cambridge*

Definitions*

1. Accompaniment is that portion of a musical composition which is
introduced for the purpose of completing the harmony, and indudea
tlie whole, excepting the aria, or principal subject.

2. Simple accompaniment is that species m which the Cantus Firmus
and accompanying parts are symmetrical, j. e. when the notes in each
are of equal value.

3. Contrapunctal accompaniment of counterpoint is that species in
which the notes in the accompanying parts differ in value from those
in the Cantus Firmus.

Having premised these definitions, we propose the following ckssifS-
cation.

Accompaniment consists of three principal divisions :-~
Class I. Simple accompaniment
II. Contrapunctal ditto,
in. Imitalional ditto.

* We miiHt hera oiTer a single remiirk. Many writen divide counterpoint into
simple and fignrate, or florid; the one when the parts are in notes of e<|Qal value
with the plain sang, or subject; the other when the notes of the ports are split info
nutes of lets value than those of the subject. It certainly would be more logical to
give the name counterpoint to the former, and that of aeooDpsaiinaBt^ m our cor*
' Foposse^ to the Jaitvb— fipiToat

THE MUSICAL LIBRARY.

Class I. Simple accompaniment

Order i. Simple accompaniment.
2. Invertible ditto.

Order I. Deriving its genera from the number of parts wbich the com-
position contains.

Order 2. Deriving its genera from the interval in which the inversion
may be made.

Class II. Contrapunctal accompaniraent, or counterpoint.
Order 1. Single counterpoint.

2. Invertible counterpoint

Order 1., Genas (1). That in which the notes in the accompanying
parts are either whole or fractional multiples of those in
the Cantus Pirmus, e. g. 2 : 1 ; 3:1; Ailkc^il;
i:l;i:lAc
Genus (2). Characterised by syncopations.*

(3). Composed of the two preceding, and therefore
called mixed counterpoint:

Order 2., Genus (1). In the octave.

(2). •.

ninth.

(3). .,

tenth.

(4). „

eleventh.

(5)- »

tweiah.

(«). „

thirteenth.

(7). „

fourteenth.

Class III. Imitational accompaniment
Or^ier 1. Periodical.
y» 2. Canonical.
„ 3. FugaL

Order 1., Genus (1). Simple.
Genus (2). Mixed.

Genus (I). Species i. In direct motion.

ii. In contrary motion,

iii. Retrograde motion,

iv. By augmentation.

V. By diminution,

vi. Interrupted ditto,

vii. By exchange of time. (Arsin et Thesin,)

Genus (2)., Species i. Where any two of the above are com-
bined.
ii. Where each different part contains a
different species of imitation*

Class III.» Order 2. Canonical imitation.

Genus (1). Simple (consisting of one subject)
(2). Compound (consisting of more
than one subject.)
Genus (1). Deriving its species from the intervals Jn which the

answers occur.
Genus (2). Deriving its species from the number of subjects
introduced.

Class III., Order 3. Fugal imitation, or fugue.
Genus 1. Simple.

2. Compound.
Genus 1. Deriving its species from the number of parts in the

composition.
Genus 2. Compound, or contrapunctal fugue, having two
species : the i. in which the counterpoints added are
merely used as counterpoints. ii.» in which they
are used as fresh subjects.
DefifuHon. — By the term subject, we understand that portion of a
fugue which is invertible, admits of a regular answer, appears in the
sirettOf and forms a characteristic feature in the composition.

These four conditions I consider essential to constitute a subject

G. K.

CORRESPONDENCE OP ZELTER AND GOETHE.

rContimicd fiom Page 30.]

No. XX.

To Zelter.

I CANNOT SO Silently resign the hope of your visit, especially as I
have so much to thank you for.

The songs you have sent me have afforded much pleasure to
myself and others^ and have already been diligently sung at some
little eoneertsy which I, in expeetatioQ of your arrival, some time

since instituted. The completion of these, as I can well see,
stands in need of your finishing touch.

Could you not bring with you several tolerably easy concerted
pieces ? Your presence would in many respects have its effect
on our circle.

I shall say no more, that this letter, which has already waited
a post-day, may go to-day. Your apartment, as you know, is
fixed upon, as . well as a little sleeping-room, so that you may ^
come without notice; I find myself in a situation favourable to •
the quiet enjoyment next month of your company.

Hence let me know as soon as possible that you will come, and
that you have settled to remain some time with us. ' *

In the hope of discussing several interesting matters by word *
of mouth, I wish you health and a cheerful mood for your journey.

GOKTHE. *

P.S. Have the goodness to bring with you what you have com- •
posed for our friends Herder, Voss, and Schiller, that they too '
may rejoice at being reproduced by your precious instrumentality.

Weimar, 24fA January, 1803.

No. XXIL
To Goethe.

Since I must give up the delightful hope of passing some days
during the winter with you at Weimar, 1 take the opportunity C>f
sending to you, what I would rather have brought myself. For •
years- past I have been dissatisfied with the accompanying
jKrf/er/wrf (Rider's Song). You have it in score, that you may
make use of it in the Theatres. Should you approve it, you
will have the goodness, when you have copied the parts, to take
an opportunity of returning me the score, as I have no copy.
You will take care that the piece is executed both by orchestra
and singrers rather in a lively and light, than a heavy drawling '
style ; I have nothing more to say about it, save that I hope, as
it is, it will please Schiller, since ail the compositions of this song
which I have hitherto known are but failures.

Mad. Mara has arrived here, and I thirst, after so many years'
.abstinence, for the divine singing of this arfUfe. During that
period I have heard no singer who, even with the finest voice, can
do every thing, and at the same time does nothing which is not
comme ilfauL

Your dear and kind letter of the 24th of January almost made
me sorrowful. I wished not to appear empty-handed at Weimar,
and hence have not been unindustrious. Several entirely new songs
were written to attain favour from yourself. The song entitled
Sehnavjcht (Desire), Was zieht mein Herz so* 9 (What so attracts
my Heart ?) and Der Sanger (The Minstrel), are quite new, and
I think even better than Keichardt*s composition. Der Sanger,
since the appearance of the first part of Wilhelm Meisfer, I haye
carried about in my head, and at last committed to paper,
Reichardt's composition is in the march-measure, and has about
it something commanding ; as he begun it, so he was forced to
continue it. I have restored the ballad-form. Then I have
finished several of your songs. Das Blumlein Wwider^schon (The
Flower Wonder-fair), has got four new stanzas ; Der Junggesell
und der MuhlBach (The Youth and the Mill-stream), on account
of a critique in the Apollo, has got more body ; Schiller's Hero
und Leander, Worts des Glaubens (Words of Faith), Kamvf
mil dem Drachen (Fight with the Dragon), Die Sanger aer
Vorwelt (The Poets of Antiquity), have received the finishing
touch. Some new sonnets, among which are one by Herder, and
several old German songs of the seventeenth century, by Abschatz,
Zinkgraf, and P. Gerhard, are newly composed. I recount to
you all my little glories, like a child to whom the Muses give
Christmas boxes, and at last know not how I shall set about with
all these darling things. Would I could arrive at something
great ! My years slip away and bring forth' nothing. Forward'
me something by Herder, whom I greatly respect. My little
reading, in continuing which I always take up what has already
pleased me, has caused many beautiful things to arise. And
now, ye Muses, enough ! Are you sure your house is not
haunted ? The fact is my spirit has taken up its residence with
you, and has there by degrees settled and built its nest.

Amon9 the songs of my composition which I sent to you, there
is one. Die Erinnerung (The Remembrance), of which I have
given away all my copies. Might I ask you, if possible, to ha^

* nefinlliMoflNf AAfiMdU.

THE MUSICAL LIBRARY.

a transcript made from your own copy, and to send it to me? If

I mistake not^ I wished to have it printed in B major, or e major.

BerUn, 3rd February, 1803. Zblter.

No. XXIIL
To Zblter.

I CAN conceive readily enough that it requires resolution to leave
one's family circle at this time of year, and seek out-door
friends. On this occasion, however, your letter of refusal troubled
me in many respects, to say nothing of what we should by our
meeting have gained for the general and higher branches of art*.
I am now in a peculiar situation, viz. busied in the organization of
the opera and the orchestra. I am this winter more occupied for
the future than the present, and hence have looked upon your
presence as indispensable.

I early perceived the truth of the proverb, ' Go to the right
smithy;* but what signifies perception of the truth, if the
smithy lies so far, that one cannot get there with one's tools.

I cannot therefore give up the liope of seeing you, and hence
make a proposal, which I hope you will accept.

Were it possible for you to take flight to us for a longer or
shorter time, I should, in my present situation, and regarding the
advantages which I expect from you, to those plans, which lie
next my heart, feel bound at least to make good your travelling
expenses here and back, and to provide for your abode here.
Would you then balance the trouble of the journey, and the
outlay of your precious time, against the pleasure you might
enjoy among us ? we should, at any rate, not remain in so high
a degree your debtors, and we might, perhaps, hit on means
to enable us to see each other oftener; if not with any great
advantage to yourself, at any rate (in an economical point of
view) not with great disadvantage.

Think over this, and send me your thoughts on the pro-
posal ; indeed, I expect a favourable reply so much the sooner,
as you are by no means pressed for time, and your presence any
day between this and Whitsuntide would be welcome.

Your room remains quiet, and ready to receive you.

AH our friends think of you with enthusiasm, which was
kindled by the performances yesterday of your new compositions
to the Reiterlied (Rider s Song), and Die Zwerge (The Dwarfe).
Schiller most heartily thanks you.

A new tenor has arrived among us, who has a very fine voice,
but who in every sense is a novice. Of what value to him and us
would be a hint of the best means of improvement ? I name but
this single Imk of the chain of obligations for which we wish to
be indebted to you.

I need not say what a serious affair is the improvement of our
Theatre, especially of our music, for the celebration of the mar-
riage of our hereditary prince, as well as for the necessary festival
in the last quarter of this present year, &c., and hence I neither
repeat my proposals nor entreaties.

I send herewith the beautiful composition you required : —

If vou peruse the Volks-lieder (popular melodies,) formerly
edited by Herder, you will certainly find much to suit you.

I am very desirous that in my little concerts every one of my
friends may admire himself, when he hears his labours once more
through your instrumentality.

Give me your solid opinion concerning Mad. Mara.

Farewell ; let me soon hear from you an agreeable word.

Weimar, \iith March, 1803. Goethb.

No. XXVII.
To Goethe.

Berlin, IH July, 1803.

Aftbr a pleasant abode* of eight days at Dresden, I returned
here on the 25th of last month. Several beautiful spots at and
about Dresden have done good to my eyes. Above all have the
daily visits to the picture and antiquity galleries been valuable
and serviceable, since I stand in need of nature for the animation
and working of that art which occupies my mind.

At Dresden I met Mad. Mara, who was infinitely delighted to
see me there. She was then on the point of giving a concert,
wkich I attended. She has here, as everjrwhere else, found

* (« BraachM" U but an approzimatioo. In the onffmal Hm tvo »djectiv«»
an m tha nautar pro mAtimttmo, " Tha umvenal aad tba kigh of ait.''— Tbaki.

admirers and enemies* What pleased har chiefly, was aoi unex-
pectedly good house, which now seems chiefly to interest her.

The first thing which excited my attention at Berlin was, a
short life of the late Mozart, half dedicated to you, which is in
fact an exposition of his works, neither short nor aesthetic, and
which is accompanied by an indifferent portraiL Could you let
me know who is the Neudietendorf writer of this instruction book
for young musicians ? The Neudietendorfers can profit thereby.

I have read in the Gazette how graciously my bieautifiil queen
has rewarded your mother, and that causea me the most heart-
felt joy. It is firmly believed here, that you and Schiller will very
shortly be in Berlin, and I am questioned thereupon in different
quarters. I have not wished to deny the possibility ; your friends
in particular are of opinion that it will never be time to hold
judgment over the sinful race, and that this ean only happen in
person.

July 4th. — Yesterday I saw Schiller's Srat*^ von Messina {Bride
of Messina) performed here for the first time. It was the third
representation of this piece. Mad. Meyer, as Xfonna Isabelle,
did all that was possible ; Mad. Fleck, as Beatrice, did somewhat
more. Manuel (Herr Beschort) displayed at times noble pas-
sages; IfHand played Bohemund as it should be; and best of^all,
Bethman played Ccesar. In all the externals, the piece is
got up with grandeur and magnificence, and even the groupings,
save the choruses, exhibit theatrical knowledge and care. Almost
all the groupings of the two brothers, the mother and the sister,
display a hand particularly artistical, and the costumes are beau-
tiful as well as the scenes, four of which are new. The last scene
with the Sarcophagus, and a new piece of adapted music, I may
call excellent.

The piece itself, as acted, seems rather tedious than otherwise.

Long speeches in verse are not Mad. Meyer's forte. She has
neither breath nor tone, and therefore no modulation to embrace
Scliiller's form of periods ; consequently great part of the first and
last acts proceeds laggingly and flatly. From time to time she
tries to collect herseOf and rise to the sublime, but she can-
not maintain her position. Our public, confiding in the great
name of the author, pass by an opportunity of encouraging the
performers by a long and continuous applause, and seem no
longer willing to conceal their thirst for the Superior and the
High. The house was full, and exerted its strength.

Concerning the choruses, I would rather say nothing, as all
floats before me dark and unrecognized. I would wager that
Schiller is right, and that something is there which we do not all
perceive. I may perhaps say to you more about it when the
piece is written, and I see it before me in black and white. Many
passages of the choruses were really effective, as my friends at
Berlin had previously foretold. When I reflect that our company
are forced to busy themselves with what are called domestic
pieces, with the study of common*place, easily comprehensible,
familiar matter, and that they must carry in their mouths abun-
dance of the commonest cockneyisms and localities, which are
but fit for week-days, I must confess my astonishment at their
performing so cleverly; so cleverly indeed, that Schiller himself
would not have been dissatisfied with some parts.

The situation of the choruses was not to my mind. I thought
that they should stand on both sides, close to the wings, and
as far in the back-ground as may be, that they might be parted
from the principal groups by the greatest interval possible.
Hence they would become as it were an element of the whole,
which would thereby acquire light and air. They here speak
their parts by measure, at least so they seem to have studied
them, and Ifnand by his motion backwards and forwards gives
this measure. Those passages which happily accord with the
measure, have a great effect It would be worth trying whether
the measure might not be better kept, and the whole would have
a determined effect, if the former were given by the strokes of a
muffled drum. The chorus on both sides should also be divided
into two, which should alternate like the antiphoniiB of the an-
cients, and might consist of question and answer. A musician
should on every occasion attend, one who knows what is to be
effected. We might try to place the choruses on the ordinary
tribunes, to preserve them immoveable, since the motion they
have exhibited here tends neither to their own advantage nor ta
that of the piece; they would then better represent the character^
the scene of the whole, and form a contrast to the action. I
know not how to express more clearly my feelings on those
points^ they must be put to the proofs we must begin by having

THE MUSICAL LIBRARY.

actual singerSy ms the easiest method of trying these plani^ while
the whole must be re-devised.

I should like to be informed by you what is the real tendency
of the Greek chorus. I have never conceived it otherwise than as
an animated wall^ and henoe have thought it must be immove-
able. I can imagine one meaning of the chorus, if it be not too
refined and speculative. I mean this : — ^in the earliest times of
the drama there might have been no pubhc to whom a poet
could make himself intelligible ; hence Uie poet was compelled
to make all for himself: ml, I say; the language, the piece, the
characters, and even the piiblic, and this last might have been
represented by the chorus. At any rate this chorus must have
been of very ancient origin, and have been lit upon by the Greeks.
They received it willingly for the sake of having a public in con-
tradistinction to the audience, which would feel and think as the
poet desired, and not require on any occasion that which the poet
would not give.

Saturday 9fA July. (A postscript of no general interest.)

Zelter.

THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN
AND IRELAND.

[Contiaaed from page 28.]

No IV.— CANTERBURY.

The Choral School of Canterbury Cathedral is coeval with the
establishment of the national churchy St. Augustine having intro-
duced the chanted service still retained in our cathedrals. The
science of music was universally cultivated by the clergy, and so
completely identified with religious offices, that, in the language
of our ancestors, to sing and to pray were used as synonymous
terms.

At the Reformation Henry VIIL new-modelled and regulated
the cathedral, and gave to the church a code of statutes, which
were afterwards modified by Archbishop Laud, and confirmed by
Charles I. The fifth chapter of this code determines the number
of persons to be maintained out of the revenues granted to the
cathedral for this purpose ; — ^they are,

1 Dean.
12 Canons or Prebendaries.

1 Lecturer in Theology.

6 Preachers.
24 Minor Canons, Clerical and Lay.

1 Master of the Choristers.
10 Choristers, &c. &c.
The choristers are to be appointed by the dean (or, in his absence,
the sub-dean and chapter) ; they are to be ^ of tender age, with
clear voices and musical talent.'

'To instruct these boys,' says the statute, 'and especially to
train them in decorum of manners, and to teach them the art of
singing, and to play skilfully upon musical instruments, one clerk
shall be chosen, of good conduct and character, and a proficient
in music, who shall carefully employ his time in the performance
of divine service, and in playing upon the organ, and who shall
also be occupied in the care and education of the choristers.

' And because it may happen that one of the minor-canons or
clerks may be better qualified than the organist to instruct the
choristers, the dean, &c. shall have the power to elect either the
organist or such of the minor clerks as may appear most worthy
to perform this duty ; which if he neglect, let him, after a third
admonition, be deposed from his office, by the authority of those
by whom he was elected.'

It also appears that the children of the Chapel Royal, when
their voices had changed, were firequently sent to the Grammar
School belonging to the cathedral to complete their education ;
for Laud^ had been dean of the Kind's Chapel, and as such had
the superintendence of the choristers belonging to the royal house-
hold, and retained an interest in their welfare when no longer
officially connected with them. The statute runs thus : —

'And so often as the dean of our Chapel Royal shall signify
to the Dean and Chapter of our church of Canterbury that he
will send from our chapel a chorister, who has served there till
the breaking of his voice, to study grammar in our church, we
will that the D^an aind Chapter elect and admit, without fraud or
collusion [the king or the archbishop could have had no very
favourable opinicn of the integrity of the dignitaries of his
cfanrch], the chorister so nominated/

The musical establishment of this cathedral at present consists
of 6 minor-canons, at about lOOZ. per annum, with a good house,
and a living soon after their election ; an organist at 1002. per
annum, with a house; 12 lay-vicars at from 40/. to 50/« per
annum; and 10 choristers, or boys, at 6Z. per annum.

The service is daily. The choristers are taught (or ought to
be) singing three times a week in the church, where there is a
musical scnool-room ; and learn reading, writing, and arithmetic,
at private schools, at the expense, of the church ; the latter being
a regulation lately introduced by the Dean and Chapter, who pro-
bably, having a foresight of what seems now near at hand, thought
it prudent to do something out of their large revenues for the
active and useful members of the church. With this view they
have also, we are told, augmented the salaries of the lay-clerks,
by the hberal addition of lOZ. The time, however^ is fast ap-
proaching when the real labourers in the service of religion will
be paid according to their work ; then will our church be better
served and more respected.

THE MADRIGAL SOCIETY-

The anniversary of this Society, which has been established but
four or five years short of a century, was celebrated in the great
hall of the Free-Mason's Tavern, on Thursday the 21st of
January, when upwards of 150 members and visitors assembled.
Sir John Rogers, Barr., the president, in the chair.

After dinner the company was, according to usage, divided off,
the bases occupying the upper end of the room, the altos the right
side, the tenors the left, and the sopranos (the choristers of the
King s Chapel, St. Paul's, and Westminster Abbey,) in the centre.
Non Nobis Domine having been sung, with a grandeur of effect
which only such a number of fine voices and skilful singers could
have produced, the following Madrigals were most ably per-
formed, every one present possessed of vocal talent, whether ama-
teur or professor, taking a part : —

Voices. Composers. Date..

Sanctug and Gloria . . . . 4 . . . O. Gibboiw . . . 1610.

PhUlis the bright 5 . • . J.Wabd .... 1613.

Flow, O my tears 4 . . . J. Bkhnbt . . . 1599.

Those sweet deliKhtful mies . 5 . . . T. Bateson . . . 1600.

All ye who music love ... 4 ... B. Dohato • . . 1550.

The president then rose, and in a long but interesting, enter-
taining, well-delivered speech, abounding in historical informa-
tion, and enlivened by those sallies of wit and humour which on
these occasions the worthy baronet so judiciously blends with the
directions which, officially, it is his duty to give, — prepared the
company for the performance of Tallis's famous motet, ' Sing and '
Glorify,*^ written in forty parts.* He gave,. with all the correct-
ness and spirit of an antiquary, an account of this composer, so
celebrated in our church history, who was organist to Henry VIII.,
Edward VI., Queens Mary and Elizabeth, and jocosely named
the amount of his salary, — sevenpence-halfpenny per diem. Sir
John Rogers then related the history of the score of the work
about to be performed, which had once been in the possession o(
the Earl of Oxford, and formed part of the Harleian collection ;
after which it passed into the hands of Dr. Pepusch, out of whose
library it was bought by Bremner, the music-dealer ; and finally,

* Sir John Hawkina thug mentiona Tallia*! motet. * It was origmally composed
to the following words: — *< Spem in alium nunquam habui praster in te Deus Israel,"
&c. In the reign, of the First or Second Charles, some person put to it certain
Knglish words, which are neither verse nor prose, nor even common sense ; but tha
composition with the Latin words coming to the hands of Mr. Hawkius, fivmerly
organist of the Cathedral of Kly,he presented it to Edward Eail of Oxfiud.'—
//w/.o/Jfitfic,iii.262.

Dr. Bumey says of this — ' But the most curious and extraordinary of all hit
(Tal]is*s) labours was his Sono of Forty Parts, which is still subsisting. Thi»
wonderftti e^ct of harmoaical abilities is not divided into cAotrt of four parta :— »
soprano, altus, tenor, and base, in each— like the compositions, a moid con, of Bene-
Tou, and others, but consists of eight trebles, placed under each other ; eight mezsi-
soprani ; eight counter-tenon ; eight tenors ; and eight bases i v>th onehne allotted
to the organ. All these several parts, sa may be imagined, are not in simple comtev-
point, or filled up in mere harmony, without meaning or design, but have each a
share in the short subjects of fugue and imitations, which are inlrodoced on every
change of words. The first subject is begun in a ; is answered in the octave beloW'
by the first tenor ; and that by the first counter-tenor in n, th« fifth above. Thfia
the first base has the subject in d, the eighth below the counter-tenor ; and thus all the
forty real parts are severaUy introduced in the course of thirty-nine bars, when the
whole vocal phalanx is employed at once, during six bars more. After whieh anew
subject is led off by the lowest base, and pursued by other parta severally, for ai>oiit
twonty-four bars, when there is another general chorus of all the parts. ^ And thai
this stupendous, thongh perhaps Outhic, specimen of human labour and intaUeci it
tarried on in alternate flight, pursuit, attack, and choral union, to the end $ whea the
I\*/yphinttc PkeninmeitOH ia terminated by twelve bar4 of universal chonv» >9 foadniF

finteiiiAial harmony. — (Hisi, rfMrnne, iii. 74.) The entice com^Oiilioa contiats ef
38 bars, in alb ttrete time.

THE MUSICAL tIBRAtlY.

it was purchased by Joseph Gwilt^ Esq., a member of the Madri-
gal Society, to which it was now presented by that gentleman'.
The presiaent proceeded to state, that the honorary secretary of
the Society, T. Oliphant, Esq., had undertaken the Herculean task
of making a magnificent copy of this grand score ; that he had,
also, written several smaller scores, and a sufficient number of
single parts, for the present occasion, which, he said, but good-
humoiiredly protested against being thought a punster, seemed to
have been effected by magic — a work only to have been achieved
by a TaUsman.

The president then distributed such of the company as were
willing to take a part in this motet, into eight choirs of eleven
each, assi^ing a leader to each choir, and, in a remarkably lucid
manner, described the nature of the work, explained the com-
poser's design; and gave such directions as could not fail to make
every individual well acquainted with the duty he had to perform.
He concluded by calling on the director, Mr. Hawes, who acts
as Coryphaeus of the Society, to assume the baton, and commence
an undertaking which, perhaps, had never before been attempted;
certainly not within the memory of the oldest man living. The
result was most satisfactory, so far as relates to the performance :
fewer mistakes occurred than could have been expected on a first
trial of a composition so complicated in its formation, and of so
singular a character. Its progress was not once interrupted, and
only those who held scores were sensible of the few errors com-
mitted.

The work itself, we must honestly confess, rather disappointed
us. That it is extremely ingenious there can be no doubt, and
that it is replete with what is called musical learning is no less
certain ; but its deficiency in melody and modulation is undeni-
able. Hence it seems tediously long, iu spite of some fine coun-
terpoints of the Doric kind, if it be allowable to apply the term to
music, and notwithstanding the glorious effect now and then pro-
duced by the choirs rolling in, one after another, their well-
attuned swells of vocal harmony. Were the motet abridged
about one-third, the remainder would rise in the estimation of all,
and be declared worthy of the labour bestowed on it by the indus-
trious and gifted author. But musicians are fastidious on this
point, and, generally speaking, rather consent to the death of a
composition — than save it by the sacrifice of a limb.

At the conclusion of Tallis's Song of Forty Parts, the dessert
entered, and the company, broken into small circles, entered into
discourse on the merits of the composition ; after which they
resumed their places, according to their voices, and the following
Madrigals were executed with a zeal and precision only to be
witnessed in this Society.

VoicM.

Kyrie eleiaon ••••••• 5 •

Down in a valley • • • • • 5 •

Mo din of rolling drom • • . 6 •

Sweetheart, BriM b •^

I will go die for |mre love , . 6 •
• Ifiiale che m* ha iatto • • • • 6 « .

Tin, fire, my heart • • • • 5 • .

Fa la la (The WaiU) . . . 4 . .

.At half-past ten the president left the chair, but coffee and con
versation detained most of the company till near midnight.

Conipoiert.

Date.

L. Lao . . •

. . 1720.

J. WlLBTB .

. 1598.

A. Stkiooio

. 1660.

T. WaBLKB*

. . 1600.

L. Marsmzio

. . 1570.

G. FKBam . ,

. 1580.

T. MoaLar •

. . 1600.

J. Sayillb • .

> . 1660.

SOCIETY OP BRITISH MUSICIANS.

Fourth Concert, Monday, January 4.

The commencement of this concert led us to hope for some
general improvement ; but the hope was not long indulged. A
n^w symphony by Mr. Lucas proved by far the best thing of the
kind, perhaps with the exception of young* Bennett's, that this
association nad produced. A glee, ' Oh ! sweet contentment/
by Miss L. Anbert Pyne, though very much in the style of many
dosens— we had nearly said hundreds — of glees, is smooth,
rather graceful, and quite orthodox. Of a canzonet, ' My fairy
home,' uy Mr. Bishop, sung very sweetly by Mrs. Bishop, and a
jprtze-ballad, ' Oh ! beUeve not the tears,* composed and sung by
Mr. Hobbs, (the prize given by the Melodists' Society,) the same
may be said as of the glee : originality in any of the three will
be searched for in vain. Mr. Neate played well the first move-
ment of a MS. piano-forte concerto of his own composition, the
subject of which is good. Of a MS. overture by Mr. German
Reed we cannot spea!k in terms of commendation. This finished
the first act.
The second act opened with an Overture to BeUhazxar^s FeaH^

by Mr. J. H. Griesbach. This gentleinan seems to be a msin of
influence in the Society, for his name appears in every program,
and Belshazzar's Feast is crammed down the throats of the
audience, in spite of the hand- writing of the critics. A scena.
The Spanish Matron, by Mr. Lovel Phillips, and a duet, an
Address to the Butterfly, by Mr. Burrowes, hardly reach medio-
crity ; and a glee. The woodland Maid, by Mr. Addison, by no
means arrives at that point. A MS. quintet in e minor, for
violins, viola, and violoncello, by Mr. T. P. Chipp, is entitled to
great praise : the style reminds us of Beethoven, certainly, and
there are passag-es which must be viewed as imitations of him,
as well as of Alozart, but they are not flagrant reminiscences,
and the whole is not only a clever but a very pleasing composi-
tion, which we shall be glad to hear again, more than once. An
overture by Mr. Tinney did very well to play the company out

The fifth concert, given on the 25th of January, is, on the whole,
entitled to a more favourable notice than any that have preceded
it. Its principal feature was a symphony by M. Potter; a work
which certainly formed a remarkable contrast to the crude and
indigested masses, which, under this title, have oflen afflicted our
ears at these concerts. It is a masterly composition, exhibiting
great skill in the treatment of the different subjects, and athorough
knowledge of orchestral effect. Its defects are over-elaboration,
and the prevailing fault of a too constant use of the drums and
brass instruments. It is a pity that a teacher of composition in a
great musical school should give his countenance to a practice so
injurious to the cause of good music; for his pupils will of course
be more s^uided by the immediate authority of their preceptor,
than by the more remote influence of the scores of Haydn and
Mozart, which, we fear, are too seldom placed before them.
M. Potter*s . minuet and trio are peculiarly beautiful; and the
finale is striking and original. Did his works contain a more

[>lentiful infusion of sweet and flowing melody, they would leave
ittle to be desired. Mr. Lucas's overture, which had been per-
formed before, produced considerable effect. It is boldly con-
ceived, and contains powerful passages, but it is too loud and
boisterous. The ear is hardly ever allowed to repose for an instant
on a melodious phrase, or a strain of simple harmony. When
will our composers know, and act upon the knowledge, that with-
out melody tnere is no music ? A sestetto for the piano-forte, two
violins, tenor, violoncello, and contra-basso, composed by Mr.
Griesbach (who performed the principal part), gave us great
pleasure. He seems to have adopted the style of Hummel, both
in writing and playing; and he could not have chosen a better
model. Mr. J. Banister played a violin solo composed b^ himself.
The theme was entirely a la Mayscder, and the variations a
string of passages borrowed from that composer ; but the young
performer played ' excellent well ;' particularly the variation on
the fourth string, which he gave with a very vocal tone and con-
siderable expression.

Of the vocal music we cannot speak in terms of much approba-
tion. There was, indeed, a very beautiful sacred song, ' Sabbath
Mom,' composed by Attwood, and sung in a sweet and unpre-
tending manner by Miss Dickens ; and an excellent glee by Mr.
W. Beale. But Mr. T. Cooke's glee, ' As it fell upon a day,'
will never dissolve the union between Shakspeare's poetry and the
music to which it has been married by Bishop. There were some
x>ther vocal productions with magnificent titles and of vast pre-
tensions, but ' full of sound and fury, signifying nothing.'

The room was well filled, and the applause frequently voci-
ferous ; but, in a series of concerts given by a society whose nu-
merous members, with their friends, are sufficient to fill the
room, neither the number of the audience, nor the loudness of the
applause, form any criterion of the extent of public patronage
bestowed on them.

CLASSICAL CHAMBER CONCERTS.

P^rtl.

Qtiintett, in o minor, fi>r two ▼ioUni, viola, Tiolonoello,and co&trtrbaMO.

lloiin. Mori, Watti, MoraH, Lindlcy, and Dragonetti . OmLOir.

Aria, ICift Clara Novello, <,Noa tcmer,' (piaoo-forte, obligato, Ur.

Moichd«g} • . .' MoiAsr.

Quartettti, No. 10, ht tvo Tiolint, viola, and violoaooUo. Motan.

Mori, Watts, Moratt and Lindlcy • • • . • BaBTBoynr.
Cantata, Mr. Balfo. 'Do^Mur.' Baltk.

Part If.
Trio> piano-lbitv, violioi and violonetUou Mr. MotdioW Mr. Mori, and
Mr.Undlojr .« , • '

THE MUSICAL LIBRARY.

TtiOf fbrtwo yrkHonMoi, and contra-bavo. Metart. Lindley, Baniitar,

and Dneonetti • • • • • Corilli.

Aria» Ifn. Alfred Shaw (lata Mist Poatans). ' Sa neUa tomba almeno.' Marluni.

Doubla Quartetto, No. 2, fur two Tiolini^ two violaa^ vioIonceHo, and
eontra-baxio. Mesnra. Mori, Watti, Tolbccque, Musgrave,^ Moralt,
Lyon, liindley, and ]>ragoaetti • . • • Sfour.

Conductor, Mr. Moschelea.

The first of these concerts, of which the above is the program,
took place in Willis's Rooms, on Wednesday evening, the 27th
of January. In their plan they are precisely similar to the Con^
eerti da Camera which have lately been given, and of which
another series is announced. Whether or not the formation of the
'Classical Chamber Concei-ts' has proceeded from a motive of
rivalry does not concern the public. Be that as it may, we have
now two sets of concerts, of a description formerly unknown in
England, going on at the same time ; and fair competition
between rivals worthy of each other cannot but conduce to the
improvement of music.

Onslow's quintet in g minor, played by Messrs. Mori, Watts,
Morah, Lindley, and Dragonetti, is a beautiful work, finished
with the minute and elaborate delicacy for which that composer is
distinguished, and at the same time possessed of greater breadth
and simplicity of eflect than are generally met with in his pro-
ductions. The contra-basso part is peculiarly calculated to dis-
play the various powers of our unrivalled Dragonetti. He opened
the piece by a few notes of solo, which had the effect of a brief
address to the audience, uttered in a tone of decision and dignity
which in a moment produced the most hushed attention ; and,
throughout the whole, his part sustained the same noble and
commanding character. Beethoven's tenth quartet, that which
in the series immediately follows the set dedicated to Count
Rasoumoffsky, is remarkable for being simple in its structure,
and more easily intelligible in its design, than those which pre-
ceded it in the order of composition. It requires, indeed, finished
execution on the part of every performer ; but it is full of clear
and beautiful melody ; and in the enchanting Adagio, especially,
there is not a phrase or a combination that might not have been
used by Haydn. These were tho, instrumental pieces in the
first act. Between them Mozart's well-known ' Non temer' was
sung, with Moscheles' accompaniment, by Miss Clara Novello,
with her usual beauty of voice and purity of style, and more than
her usual energy and expression. She was most cordially
received and warmly applauded. Mr. Balfe sang a new cantata
composed by himself, entitled ' Despair* It was accompanied
on the piauo-forte by Mr. Moscheles. Despair is the most un-
musical of all the passions : and, though Mr. Balfe has exhibited
ability in this composition, he has not treated the subject in a
way either agreeable to the ear or satisfactory to the judgment.
The sounds natural to this passion are hoarse, broken, and dis-
cordant ; and generally low and gloomy, though they may be
mingled with occasional paroxysms of violence. But Mr. Balfe
(following his poet, to be sure) describes the war of the elements,
and then says that he cares not for the surrounding tempest,
because ' a darker tempest howls within.' ITiis is not the poetry
— nor is Mr. Balfe's music the music of despair. While Mr.
Moscheles was exerting all the strength of his hands in a crash-
ing imitation of the raging of the winds, the roaring of the
thMuder, and the dashing of the mountain-torrent, Mr. Balfe
exerted his lungs with equal energy. In truth, he was * louder
than the weather;' and, what was worse, this 'pitiless storm*
lasted from the beginning to the end of the piece. During its
progress we thought of Haydn's canzonet on the same subject,
and wished that Mr. Balfe had done the same when he was com-
posing it. We think highly of Mr. Balfe's talent, even as ex-
hibited in this composition ; and hope for his emancipation from
the thraldom of the ' noisy school.'

Beethoven's Trio in b flat, dedicated to the Archduke Rudoff,
was played by Messrs. Moscheles, Mori, and Lindley, who
showed, that, when perfectly executed, its simplicity of effect
is equal to its grandeur. The opening of the Jdagio, we think,
has no parallel in piano-forte music; and, in the hands of
Moscheles, it becomes* a piece of choral harmony of the most
sublime description. — Corelli's trio, played on two violoncellos
and the double base, by Lindley, Banister, and Dragonetti,
though it has become familiar to every concert-goer, was listened
to with unabated pleasure ; and the passage in which Dragonetti
exhibits his amazing rapidity of finger and command of bow
received its accustomed encore. Mrs. Shaw (lately Miss Postans)
gang an air of Marliani much better than such trivial music

deserved. The whole concluded with Spohr's double quartets
No. 2, a clever and most elaborate composition.

The room was quite full ; and the audience, during the whole
evening, were loud in their expressions of pleasure and appro-
bation.

REVIEW.

Musical History, Biography, and Criticism, being a General Sur-

^y of the Science, from the earliest period to the present time; by

GsoROB Hogarth. 1 vol. 8vo. (Parker, West Strand, 1835.)
The five large quarto volumes by Sir John Hawkins, and the four, not
less ponderous, by Dr. Burney,— the former abounding in deep anti-
quarian research, and full of facts which only time wholly devoted to the
task, and patience inexhaustible, could have traced and collected, the
latter displaying much learning, vast musical knowledge, and. great cri-
tical acumen,— works of so voluminous a kind are not calculated for the
many, who have no leisure, whatever their inclination, to read that which
is not immediately connected with their particular pursuits, unless com-
pressed, and written in an easy, engaging style.

The rapid progress made by music in this country, manifested in its
widely-extended practice, called for a brief history of the art, one in
which the most important facts should be stated, divested of the proofs
and reasonings only calculated for the studious, and related in an agree-
able manner. Added to the historical part, which required to be brought
down to the present period, unprejudiced opinions of the merits of Af-
ferent schools and peculiarities of each great master were also desired,
in order to make the work as complete as its extent would admit.

Mr. Hogarth seems to have viewed the matter in the same light as
ourselves, and such a work as we have described as a desideratum, ha
has now produced. He has accomplished that which, in his preface, he
declares to have been his design, which he thus states : —

' The author's object is to give that information respecting the pro-
gress of music, the persona] history of the most eminent musicians, and
the present state of the art in this and other countries, which is now looked
upon as indispensable to every person of liberal attainments. He has
endeavoured to use simple and perspicuous language, avoiding technical
phraseology and abstruse discussions ; these, in truth, being wholly un-
necessary in treating of music, not as an intricate science, but as one of
the most beautiful of the Fine Arts. He has entered, as fully as the plan
of a concise and popular work would admit of, into an examination of
the works of the great masters ; endeavouring to illustrate those prin-
ciples of criticism which are the foundation of sound judgments on
musical subjects.'

Further on he says, that, having no overweening confidence in his own
infallibility, he may be found • (like many of his betters)' to * have been
sometimes blinded by prejudice;* but that any errors he may have
fallen into are * not the result of wilful perversion of judgment' We
are convinced, on the internal evidence of the book, that the author is a
candid writer,, and we can only say of most of his opinions, that, if they
are erroneous, those wliich we have long formed, and often pronounced,
are not less so.

To the history of ancient music, properly so called, he has devoted but
few pages, and prudently, for this part of the subject is only interesting
to the learned, besides being involved in much obscurity. Indeed, three-
fourths of the volume are dedicated to the last and present centuries.

As a specimen of Mr. Hogarth's critical powers, on a subject still a
little disputed, and of his easy style, here mounting up to eloquence, wa
insert his opinion of the comparative merits of the two greatest Italian
and German dramatic composers of the last age, — Cimarosa and Moziut.

' Cimarosa's music is remarkable for the charms of its melody, which,
though less varied, and less indebted to the resources of modulatjon
than that of Mozart, and less showy and piquante than that of Rossini,
is unrivalled for the openness and flow of ito long and exquisitely
rounded periods. He possesses little of the melancholy which tinges
Mozart's music, even when it is meant to be gay ; but he is able to
express Italian passion in all its ardour ; and, ia his comic style, there
is a quietness and delicacy which Rossini, with all his eccentricity and
humour, has not attained. His concerted pieces are not so full of hustle
and business as those of Rossini, but yet very dramatic, and admirably
constructed. In the richness and fulness of his accompaniments, and
in the delicate management of the different instruments, he excels any
Italian writer of his time, though, in these respects, he is far surpassed
by Mozart. Tlie operose character of Mozart's acoompanimenu was
lung made an objection to his dramatic music. The Emperor Napo-
leon once inquired of the celebrated Gretry, what was the difference
between Mozart and Cimarosa. •' Sire," replied Gretry, •' Cimarosa
places the statue on the stage, and the pedestal in the orcliestra ; while
Mozart puts the statue in the orchestra and the pedestal on the stage.'*
This oft-repeated wiuicism only shows that Gretry partook of the gene-
ral ignorance of the character of Mozart's music. . To tliis day it is
disliked by the singers of the lulian school, who find that tlie fulness
of the accompaniments restricts, the use of florid embellishment, while
tlieir richness and beauty attract a portion of the attention which is
claimed exclusively by the vocalist. But Mozart is the Titian of music ;

THE MUSICAL LIBRABY.

and the noble and graceful fenns which he places opon the atage, are
put in stronger apd bolder relief by the glowing and delicately blended
tints, and the powerful lights and shadows thrown over them by his
orchestra. If^ however, Cimarosa's pencil was dipped in fainter colours
than that of Mozart, it was because his palette was not so richly spread
as that of the German artist. The Italian composers were only be-

E'nning to discover those combinations of instruments which had long
ten familiar in Germany ; and many of these discoveries were made by
Cimarosa himself, who surpassed all his predecessors and contemporaries
in the variety of his orchestral effects. The Matrimonio Segreto still
holds a distinguished place on the staffe. It is a light and elegant
drama, foundMi on our comedy of ** The Clandestine Marriage," and,
when well performed, is one of the most delightful entertainments that
ean be imagined. Cimarosa's greatest serious opera is Oli Orazi e
Curiagi, which is still frequently performed on the Continent, though
- not lately in England.'

Numerous pages are devoted to Haydn, whose original and splendid
genius, whose fertility as well as invention, are amply acknowledged.
That species of music which, in its true grandeur, owes its birth to Uie
eldest of the modem German triumvirate, is thus described in its early
state, when it hardly deserved the name, and as perfected, or, we ought
to say, advanced from puling inflmcy to robust manhood, by Haydn.

* The 63rmphony, a description of music which embraces many of
the most splendid efforts of modem genius, owes its very existence to
Haydn. We have already seen what it was, when in its infancy, in the
hands of Bach, Stamitz, and Vanhall ; and Haydn's first productions of
this kind, in their form at least, can hardly be distinguished from theirs.
They were generally in eight parts, — ^for first and second violins, tenors,
and basses, with two oboes, and two horns. The movements were short
and simple, and the harmony thin, the wind instruments doing little
more than accompanying the stringed instruments in unison. Haydn
began by turning to better account than formerly the powers of the
orchestra as it then existed. He extended his movements by giving a
more ample development to their subjects ; he enriched the harmony ;
and produced new and beautiful effects by his employment of the wind
instruments. By degrees, he swelled the mass of sound, and obtained
further varieties of effect, by employing additional instruments, and in-
•creasing the number of parts. In this manner he continued to pursue
his researches into the regions of orchestral harmony, followed, but
never reached, by his contemporaries — ^till, towards the close of his
career, he found a companion in Mozart, who went side by side with
him, and even outstripped him in the use of the brazen instruments, the
constant addition to the number and discovery of the powers of which,
even at the present time, is daily giving new features to the music of
our orchestras. Notwithstanding, however, all that has been done by
his successors, many of the symphonies of Haydn have never been sur-
passed. In the exi^uisite beauty of the melody, the admirable use made
of the peculiar genius and capacity of each instrument, and the perfect
clearness which pervades every part of the composition, —some of them
have hardly yet been equalled.'

Not less justice, in still more space, is done to Mozart, whose trans-
cendant abilities are no less the theme of Mr. Hogarth's praise, than
that of every one having the slightest pretensions to write on the sub-
ject. But we regret that he should have given even the smallest credit
to the ridiculous story of the Requiem having been more than half
written by Sussmayer. The subject was taken up some years ago by
the Harmomcan, where the absurdity of all the essential parts of the
statement was clearly exposed.

Of Beethoven the author is an ardent admirer, but his ardour does not
deprive him of his critical discrimination, as the annexed able and well-
drawn character of that composer's works most clearly will prove : —

* The music of Beethoven is stamped with the peculiarities of the
man. When slow and tranquil in its movement, it has not the placid
composure of Haydn, or the sustaindl tenderness of Mozart; but it is
grave, and full of deep and melancholy thought. When rapid, it is not
brisk or Ihrely, but agitated and changeful, — ^full of ** sweet and bitter
fancies,"— of storm and sunshine, — of bursts of passion sinking into the

subdued accents of grief, or relieved by transient gleams of hope or joy,
There are movements, indeed, to which he gives the designation of
scherxoso, or playful ; but this playfulness is as unlike as possible to the
constitutional jocuhirity to whicn Haydn loved to give vent in ihejinales
of his symphonies and quartets. If, in a movement of this kind, Beet-
hoven sets out in a tone of gaiety, his mood changes involuntarily, — ^the
smile fiides away, as it were, from his features, — and he falls mto a train
of sombre ideas, from which he ever and anon recovers himself, as if
with an effort, and from a recollection of the nature of his subject The
rapid scherzos^ which he has substituted for the older form of the minuet,
are wild, impetuous, and fantastic ; they have oflen the air of that violent
and fitful vivacity to which gloomy natures are liable ; their mirth may
be compared to that of the bacchanalian effusion of the doomed Caspar.
They contain, however, many of Beethoven's most original and beautiful
conceptions ; and are strikingly iHustretive of the character of his mind.'
We are willing to believe that what is here ouoted, if not what we
have said, will excite a wish in our readers to Know more of a work
which cannot be read without real iastruetion and unmixed pkasure.

FOREIGN MUSICAL KBFORT.

VIENNA.

On the 8th of October, M. and Mad. Buschmann played the inatrument
called the Terpodion (M. Buschmann is its inventor),. at the Hofopfem
Theater. The effect it produced on the public was but trifling ; had
they played one piece it would have been sufficient, consequently thsee
(!) were rather a bare.

Madlle. Henriette Cari, first smger at the MadrkL Theatre Royal,
appeared as Anna Bolena^ in the opera of that name, at the Hofopfem
Theater. She has a ffood figure and a fine voice, sings correctly and
diastely, but (alas, these huU!) the publk, ahready daided by the
brilliant colourings of Mad. Schatz-Oldott, exnected aomcduBg JDOitt
brilUanU and gave the lady less applause than soe merited.

A singular event took place at the Hofoffern Theater^ on die IStk
of October. Weber's opera Oberon was pertormed, and— what do yiNl
think ? — ^the first tenor, Huon (M. Binder), did not sing one note
throughout. They say M. Binder was ill ; be it so ; — but then he
should not have appeared at all. The public treated him somewhat
roughly, and if he were really ill, and at the same time compelled to
appear, he deserved not such usage : while those invisible powen who
did compel him, and forced down the throats of the public an opera
minus the principal tenor, deserved treatment ten times more severe.

Although Madlle. H. CarFs first reception was not so flattering, her
popularity rose wondrously in about a week, by her performance of
Amenaide, in Rossini's Tancredi. She played it with much 8[niit»
and drew down the unanimous applause of a public anxious to atone foe
their former non*appreciation of her beautiful voice and truly artistical
style.

One of Auber's wild oats, the opera Emma, made its first appearance
at the Hofopfem Theater, on the 20th of October. The manager con-
ferred thereby but little benefit either on the composer, the public, or
himself; all three might regret he did not produce something better.
The music is but a schoolboy's work ; and we have known Auber in his
maturity. Then the libretto is so marvellously tedious, that there is but
small cause for wonderment that an Italian air introduced by Madlle.
Lowe should bear away all the praise.

The third appearance of Madlle. Carl was as the Princess of Na-
varre, in John of Paris, when she received unanimous applause, and
had the honour of being called for : whether the means by which Bttcb
honour was attained were quite comme il faut, is another question.
The means, at any rate, were two Italian airs, which she introduced,
and sung in the Italian language. This is not as it should be; but if
one makes the public thunder down applause, is not the end gained ?

M. Kapellmeister Lachner, from Mannheim, on the 31st of October
produced his last symphony in b, at the Hofopfem Theater, with the
assistance of the orchestra there, which he conducted in peraon. In-
structed by the great models whose immortal remains are his patterns,
and improved by the experience gathered from his own labours, M.
Lachner has shown by this new production, that in the field of sym-
phony he can enter into the lists with any living composer. If the bold
flight of his genius equals not tliat of Beethoven (and who can equal
it ?) he perfectly tmderstands how to set to work on the grand scale, and
how to astonish by his selection of simple themes, whkh are not in the
quartety hut the real symphony style, and which ever appear new by the
varied colouring of the instrumentation. He met with boisterous ap]
plause, of which the orchestra had its share, and deservedly^ for it was
fully animated by tlte soul of the composer ; and never since IML
Lachner's absence dkl we find it in such good trim as on this deli^itfid
evening. We regret to say the theatre was not so full as might have
been wished for t^ honour of eood Uste, and that of our city.

An oratork», before unheard, called Davids by Bemhard Klem, was
performed at tlie Musical Union Hall, on the neon of the I at of Ne-
vember. The Society of Friends to Music in the Auatriaa Empira has
a new claim on our gratitude, having, for the aecond time, eaerted Ma
artistical energy (that energy which is always working for a true end)
in presenting us with the creation of a master, of whoxn, with shame be
it spoken, we knew liule else but the name. And yet, ex ungue leenem^
if we may judge from this sample, he may indubitably be placed among
the phenomena of a time rather lacking the severe grave style of music
His is, indeed, the true oratorio-style, just as it was called into Hb
by the mighty Handel ; divested, indeed, of some antiquities, wluth asa
deservedly eensigned to oblivien, but clothed with all the tegitfanite
ornaments which we ewe to a progressive and more refined cukivatioii,
and of wliich every one ia allowed to anake ose,^ provided be ksowa hnr
to economise them, and has the good tasle not to oventep the legal
boundaries. Hence we find the instrumental part actually bciUjant ; at
times, indeed, lavishly composed, and all arranged for an cmgbial
and even overpowering effect. The choruses are worked up with over-
powering strength ; and we must not omit to mention the^ arias, lecita!-
tives, and concerted pieces, which breathe truth, expression, d^ feel-
ing, and glowing animation, without ever departing from a religfona
tendency. Tlie masterly performance, under M. Scbroeidera direction,
deserves unqualified praise; the solo parts were most ablyfined by
Mad. Kraus Wranitaky, Madlles. Dineft and Hteig, and MM. Lnti»

THE MUSICAL LIBRARY.

Reggla, and Hase ; and in the choral and orriiestral body, unanimity,
zeal, and good^will for a good cause were very conspicuous.

On the 2nd of November, M. Hammenneister, royal Prussian court-
singer, appeared at the Hofopfem Theater as Don Juan, in Mozart's
ch^'d^cBuvre. This Quest* is a pretty singer and experienced actor,
both of which a performer of the part in question ought to be. Still we
most confess that M. Hammenneister has not that power or passion
which is absolutely necessary to produce effect. He received applause,
though a certain malicious voice in the pit was heard to say, that only
one person had sung that evening, viz., Madlle. Heinefetter. .

All the musical world were on the Srd of November much excited by
a certain placard. This announced that Therese Ottavio (a young lady
aged thirteen), pupil of MM. Paganini and Beriot, would perform
variations by the latter ; and that M. Schmidt, member of the Academe
de rindusirie in France, and inventor of the ApolUhLyta^ would on
this instrument play four pieces of music. The young lady played her
violin with much elegance and animation, and overcame many serious
difficulties. She received tumultuous applause. The Apollo-Lyra pro-
duced but little effect, i. e., met with little applause. A query seemed
to be afloat as to whether the invention was new.

The dramatic powers of M. Hammenneister appeared to great advan-
tage in his performance of Gaveston^ in the White Lady. He is, cer-
tainly, the first who has made a character of this part, and this was
recognised by the better part of the audience.

Three arias sung at a concert, by Madlle. Carl, have proved that the
concert-room is her proper sphere. She was called for five times.

PRAGUE.

A long expected novelty on our boards was Robert the Devil^ got
up with exceeding brilliancy, which has so far performed its duty, as to
fill the house ever since its production, although we must confess the
music does not quite answer the expectations that had been raised.
Robert the Demi is certainly a very ingenious and original, and in many
passages, a very characteristic and even melodious composition, yet it
wants connexion ; many themes are scarcely touched upon, which should
have been more worked up, while others seem too much reduced to their
component elements, and are so often repeated as to produce tedium.
Th^ first act contains several very distinguished pieces, particularly the
introduction, and the finale, which is unquestionably one of the best
things in the opera. In the second act the Princess takes the lead ;
she may be considered as very brilliant, and when (as with us), she is
well played, deserves honourable mention. Next to her stands the beau«
tiful female chorus, though a little more precision would have been de-
sirable. The third act appears most tedious, and leads us to believe
that the mystico-awful is not the composer's forte. However, the best
things in it were the chorus of subterranean spirits, and the conclusion of
the dance of female phantoms. The fourth act embraces the finest pieces
of the whole ; viz., the grand aria by the Princess^ and the trio between
Robert^ Bertram, and Alice. The concluding finale is magnificent.
And now, touching the performances. — Madlle. Lutzer (the Princess^)
deserves the most honourable mention ; in the few pieces depending on
her, she exhibited all that rich art, all the brilliancy and fulness of her
noble voice, rendering her own part almost the leading one of the
opera* Next in rank stands Mad. Podhorskey (Alice), though her part
was not exactly suited to her. M. Demmer was a capital Robert^ and
never was M. Emminger so tolerable, though, to be sure» his little part
{Raimbaut,) required no great power of voice. Bertram^ at first, fell
to the lot of M. Strakaty, who, in the attempt to perform a part to which
his mental and bodily powers were unequal, fell more than ever into a
false style of voice, wid sang rather to himself than fully out of his breast.
M. POck succeeded him in the part, to which his noble voice was admi-
raUy adapted, and conceived it nobly, being a most interesting character,
whether we regard his acting or his appearance ; in fact, he lef^ nothing
to desire, except, perhaps, a little more fiendish malice. However, this
great change for the better did not produce the great change in the
opera, considered as a whole, that might have been expected, and we
first perceived that Bertram was not destined by the composer f(Mr a very
powerful character. The decorations and costumes were extremely
brilliant. M. Raub arranged very well the dance in the second act ;
that in the third was too modem, too much divested of fancy and ro-
mantic keeping. The reception by the public could scarcely be called
even lukewarm, for though Uie principals were called for after the singing
of their most beautiful pieces, and though the opera has always been welL
attended, yet we cannot consider it such a kU as the Dumb Qirl of
Bortici; and if as little had- been done for the outward brilliaBcy of this
opera as of that, it would hardly have kept its footing.

Madlle. Sabine Heinefetter selected Norma for her last appearance, a
p«rt to which her peculiarities are in many respects adapted, and it
must be confessed that her acting, especially in the second part, was very
remarkable. As concerns her singing, she took it into her head to alter
the part so materially, as very much to injure the effect intended to
be produced; we would counsel her not to attempt this part often,
especially as we have so young a Norma on our stage already. After
she had once repeated the character, she sung, between-acts, at the

* Gasi^ — A Dame given to a foreigner come to «/ar»-»EDiTOR,

benefit of M. Pusch, tlie Cavatina from Vgo^ Conie di Pari^^ and last,
in the presence of the Queen Mother of Bavaria, (who appeared in her
box three minutes before the close of the opera,) sung the part of Romeo^
in the Montecchi e Capuleti.

Madlle. Francilla Pixis, singer from Paris, (as the play-bills called
her, and which the public took very ill, although it was the truth,) per-
formed here two Gastrollen*, Malcolm, in the Donna del LagOy and
Romeo, in the Montecchi e Capuleti.; the first, to a just but cool acknow-
ledgment of her merit, the second to tumultuous applause^ such as
Madlle. S. Heinefetter never received, whose voice is certainly unequal
to that of Madlle. Pixis in youthful strength and fulness. The younff
lady's voice is a melodious and comprehensive mezzo-soprano, and u
her colouring be not quite faultless, she makes up for that by a truly
classic style of singing, and by that dignified, tasteful, and touching
delivery, which announces the dramatic vocalist. A few alterations and
introductions we could by no means approve ; they seemed out of place.
In the Montecchi, instead of the proper conclusion, a third act, by
Vaccai, was introduced, which though unquestionably more dramatic and
full of feeling than Bellini's ending, is somewhat too lengthy, and poor
Giulietta has to wake from her fainting-fit and sing herself almost out
of breath before she dies, and that without producing much effect In
both pieces Romeo is the hero, and with him dies the opera.

M. Draka concluded his Gastrolltn with Sir Vergy, in Blue Beard.
Several play-bill puffs served to crowd the house, but, however, the guest
was suffered pretty quietly to depart.

M. Pock, on his return' from his travels, appeared as Orovist^ in Norma^
and as Figaro^ in the Barber of Seville, and met with his' accustomed
applause. In the last opera Madlle. Lutzer took the part of i?0Jtna,
which had long been looked for with eagerness, as that character seemed
admirably fitted to her singing and acting — yet, blessed are they who ex-
pect nothing! — ^Though she certainly sung very finely, she suffered herself,
in her desire to outstrip all her predecessors, to be led into such an over-
loading of ornaments on her cavatina, that the superfluities rendered
people indifferent to her really beautiful surmounting of the greatest
difSculties. Even in the very dramatic and characteristic duet with
Figaroy she introduced variations, which indeed were gems in them-
selves, but in this situation a mere interruption. In the lesson-scene
in the second act she introduced a somewhat tedious aria by Raimondi
(or Carafa). Here would have been the place to exhibit her skill in a
bravura, and here would it have been acknowledged to a full extent. The
little success which she met with in this part was doubly unpleasant to
us, as it served to corroborate a false notion that she is only fitted for
tragic parts.

Our latest guest was M. Wild, who made his debut on our stage as
Zamva, and was received with great expectations. We had heard of
M. wild as a singer who united the solidest German art with the deepest
expression and feeling, and whose performance was the more successful
the more stormy was the passion to be portrayed. So said the Vien-
nese papers, and of course justified us in expecting all that was possible,
if not a little more. Alas ! our expectations were not satisfied. M. Wild
is, certainly, an excellent musical declaimer, but the power of his voice
has latterly so diminished, that we could hardly commend him for select-
ing a part which, in the first place, demands the organ of a giant, and in
the next place a qualification which M. Wild once possessed, viz., a good
falsetto. That the natural nowers of a performer who has been thirty
years on the German stage have diminished, is no cause of surprise, yet
we cannot help wondering that an experienced vocalist, like M. Wild,
should pick out unsuitable passages, which whirl him up into the higher
regions, leaving the audience in an interesting doubt, whether acquired
skill or natural infirmity will gain the day. And sometimes, what is
worse than all, he sings a false note.

In the last act we missed in M. Pock the proper Italian glow, the
genteel deportment of a bom Count; though certainly there was a
noble grace in his movements. M. Wild, on the other hand, displayed
an unpleasant vulgarity in his speech and gestures, and only towards
the end he fell into a kind of pompous d'gnity ; this continued till his
last duet, which he decorated, not indeed with Italian wartpth, but with
gestures which we did not consider over-delicate. His reception, com-
pared with that when he was formerly with us, could not, certainly, be
called brilliant.

The second character he took was Oiello, which was very good in its
way, and here was the change which his voice had sustained less remark-
able ; it certainly required great exertion for him to sing the more
forcible passages, yet he executed them with great expression and feel-
ing. On the whole, recitative operas are best adapted to M. Wild, as
they in a less degree betray his Austrian brogue, of which, in spite of
the long time he has passed away from home, he has never got rid.

His third part, that o( Fritz the Upholsterer ^ in die Braut (the Bride),
was less successful. This had formerly been one of his most triumphant
efforts, but on the present occasion he unfortunately met with a most
icy reception. Norma was the next piece in which he appeared, and
played Severus vfiih so much expression and feeling, that we for the

* Must we repeat that Qatirofft msaas the port chosen by a foreigner to tiar in ? —
EnxTOB.

THE MUSICAL LIBRARY.

firet tim6 recogpsized the M. Wild of fanner days, the best tenor in
Germany, and felt indignant at Uie public for giving him leM applause
than was his due. Fortunately for M. Wikl« die Unbekannte (the
Unknown One) was revived on the board% to the great joy of the
lovers of music, who remembered what he had been in Arthur ; and
indeed we may call this one of his happiest performanoes, though
the most formidable rival he had to contend with was the recollec-
tion of his former self. A second invincible rival was M. Pock
{Waldehurg)^ whose powerful sonorous voice cast that of the rest into
the sbade, though he certainly cannot compete with M. Wild on the
ground of genuine art Madlle. Furth took the part of Isoletta, as a
Gastrolle^ but appeared so much overcome, and seemed so indisposed,
that we refrain from forming any judgment Never was M. Wild more
bappy than in Fra Diaooloy but the most unsuccessful of all his parts
was Don Juan^ where he not only forgot tlie Spanish grandee (for such
be is, notwithstanding his being a Rouk)^ but even sometimes failed in his
singing. The duet with Zerlina (Madlle. Lutzer), and Elvira (Mad.
Schmidt- Friese), he sang very charmingly and tenderly, though, strange
to say, both were coolly received. Tlie Champagne song was half spoken
and half screamed, and if we have thought M. Pock's style of singing
tliis too rough, yet he was a Lablache compared with M, Wild ; and
notwithstanding all this, we noticed a group who cried Encore ! Per*
baps it was the judgment of this select few that seduced M. Wild so

far from the paths of rectitude, that he (gues8, gentle reaclcr 1) fired

a pistol in the first finale. The good people oi* Prague could not stand
this, — tliey had seen Don Juan for the last fifty years without any pistol-
firing, and consequently not a hand was moved in applause at the fall of
the curtain. In Masaniello M. Wild made a very fair hit ; and as the
finest thing of all, we must mention Nadori^ in Jessanda^ which he sung
with so much feeling and expression, that we may say we never saw
that part filled before. A transposition in the duet with Amazili caused
it to lose some of its original eOect. The public acknowledged his merit
in certain passages, though even here the applause was not adequate to
the worth of tlie artiste. Madlle. Lutzcr (Jessonda), Mad. Podhorskey
{Amazili)j and M. Puck {Frisian), supported him ably.

NAPLES.

/ Dotii per Fanatismo, 'wiih music by tlie young Count Nicolo
Gabriele, has received great applause in the Teatro Nuovo,

Donizetti's newest opera, Lucia di Lammermoor, has been acted at
the Teatro San Carlo, with great success. The composer, and the three
principal performers. Mad. Tacchinardi, Duprey (tenor), and Cosselli,
(base), were called for till they were weary.

MILAN.

The incomparable Malibran has appeared at the Teatro alia Scala
as Desdemona, and charmed everybody. A journalist here has com-
pared her to Halley's comet

On the 11th of November a concert was 'given at the same
place by the Spaniard Buxo and his Sister. The place was thronged ;
the magnet which attracted them was the word ** Malibran,*' in the an-
nouncement bills. This excellent artiste sung, with M. Frezzolini, a
comic duet from M. Rossi's Amelia, in her usually perfect manner. The
parts in wliich she imitated the voice of an old woman excited the
greatest applause. (!) This duet was encored. Besides this we had tlie
variations from Rossini's Cenerentola; and a Bolero song in the Spanish
language, by Mad. Garcia — we can praise nothing in her, save the
compass of her voice. In a cavatina from Donizelti*s Esule di Roma,
M. Pasini produced but small effect, which was the fate also of the two
Buxos, in pieces which they played on the violin and piano.

VENICE.

Bossini's improved Moise has been performed at the Apollo Theatre,
and was on the second evening very well received, which we must
ascribe to the zeal of the performers, and particularly to the excel-
lencies of Melas, Scalese, Lei, and Reina.

Ricci's opera, Chi dura, vince, has been produced at the same house.
It was a total failure, Matas alone having been called for.

THE DRAMA.

Drurt-Lanb Theatre.

On the 5tb of January, an English version of Auber's opera. Le Cheval
de Bronze^ was brought out at this theatre under the title of The Bronze
Horse. The drama has been adapted to our stage by Mr. Bunn, and
the English words fitted to the music by Mr. T. Cooke. This piece
has been a great favourite with the Parisians; but, notwithstanding the
splendour with which it has been got upland the prettiness of the music,
its success here has been but moderate. The plot (if it may be so

called) is absurd even to childishness; and its want of coherence
and interest is not redeemed by the smart and lively dialogue which
gives a certain grace and iournure to the veriest trifles of the French
theatre. The story, being a tissue of nonsense, cannot be told in-
telligibly. Such foolery (by no means fit for the nursery amusement
of an intellectual infant of four years old) is a specimen of the stuff
to which the music of the best masters is now-a-days doomed to be
united. We wonder that an artist of Auber's merit should have con-
descended to employ his talent on such a subject : Mozart or Weber
would have spurned' the proposal. A subject may be wild or super*
natural, provided it be imaginative and poetical like the Zauberflote, or
impassioned and interesting like the FreischtUz. But, on seeing the
Bronze Horsey we feel at every instant that the whole is a bad joke.
In such a case, the spectacle, however splendid, is an empty pageant,
and the music, however clever, a series of unmeaning sounds. But
the music cannot be beautiful in such a case ; for, wanting expres-
sion, (which jt must want, when there is nothing to express,) it wants
the element of beauty. Such, accordingly, is the character of Auber*8
music in this piece. There are several pleasing and sprightly melodies,
strongly marked with this composer's peculiar manner; some ingenious
and ell'ective concerted movements ; and a great deal of masterly instru-
mentation. We listen with pleasure, but without emotion ; and, when it
is over, it vanishes from the memory, leaving not a trace behind. How
different from the effect produced by the spirit-stirring strains of
Masaniello /

The piece was well performed. Miss Shirreff looked pretty in her
Chinese costume, and sang very charmingly. Templeton, too, acquitted
himself ably, and his intonation was less uncertain than we frequently
find it. Miss U. Cawse exhibited her never-failing talent in a trifling
comic part ; and Phillips, in the Mandarine, produced a good deal of
laughter by his whimsical acting, while he sang with his usual ability.
The piece ran, as it is called — that is, was performed every evening for
a very short time, and has since been played occasionally. It U not
worth the trouble and cost bestowed on it.

St. James's Theatre.

The suspicions that a newly-built bouse must be damp deterred the
public, generally, from visiting this theatre till three or four weeks had
elapsed. The reports of its beauty and convenience, in which every
account agreed, some clever performers, most of them unknown at the
west end of the town, a new opera, two highly diverting farces, nay
Braham himself, — all combined, could not overcome the moisturephobia.
But Christmas turned, apprehensions died away, and no longer were
vacant places to be seen. The Waterman, in which Mr. Braham intro-
duced the favourite * Bay of Biscay,* the revival of The Spoiled CJdld^
and Monsieur Jacques^ a new piece, doubtless co-operated in attracting.

Of Monsieur Jacques it is not overleaping the bounds of critical dis-
cretion to say, that both as regards this one-act drama, and the acting
of the principal part in it by Mr. Barnett, a more effective represen-
tation has rarely been witnessed. Monsieur Jacques, a French com-
poser and teacher of music, settled at Palermo, is engaged to instruct a
young lady of noble family. After six months have passed, the master
and scholar avow mutual attachment, marry, and quit Palermo, but at
the end of two days are taken by their pursuers; he is tried for marrying
one of illustrious birth without consent, and sentenced to the galleys.
He is speedily delivered, through the influence of gold judiciously distri-
buted by the agent of some person unknown. At the same time he re-
ceives a letter from his wife, telling him to make his way to England,
whither she promises to follow him as quickly as circumstances will
admit. He arrives at Dover, where during twenty years he is daily ex-
pecting her. At the expiration of this period the drama commences.
He is lodging in a miserably-furnished garret, and hourly looking to
the sea for the vessel that is to bring the object of fais constant,
deep attachment; an expectation which is become a species of mo-
nomania. At length a young lady, a foreigner of distinction, lands
at Dover, and applying for lodgings at &e very house in which
Monsieur Jacques resides, learns something of his history, finds that he
has been half supported and much comforted by a young English poet,
in circumstances only a degree better than his own, and whom she had,
not witliout emotion, seen in his walks on the pier, where he had noticed
her with feelings corresponding to her own. That she is Monsieur
Jacques' daughter, soon appears ; also that his wife, delayed by various
circumstances in her journey to England, had given birth to a child,
Nina, and shortly after died. The sequel may be imagined : the father
unites the hand of his friend, the poet, with that of his daughter.

There are two songs and a trio in this piece, by Mr. Barnett, not un-
worthv of the reputation acquired by the composer of The Mountain
Sylph,

%* To our correspondents, &c.^ in our next.

LONDON: CHARLES KNIGHT, 22, LUDGATE STREET.

Pbxmtsd at W. CLOWES ahd SONS, Duu STaxBTi Laxbxth.

MUSICAIi lilBRARY.

No. XXIV- MARCH, 1836. Price Sixpence.

TheMusieof'PartXXIV/ • .
Algerine Mneic ••..••
A Composer'! Remarks on Music

51
53

CONTENTS.

The Improved Double Drums . • • • • 55

Philharmonic Concerts ...•••• 56

Vocal Society 56

Classical Chamber Concerts • • • • • 57

Review ••••57

Foreign Musical Report • • • * • • 5d

THE MUSIC OF PART XXIV.

March — (Page 81).

From the serious opera o{ Alceste, or 11 Trionfo delV Amor Con-
jugale, by Gluck. (See Vol. i. 110.) It is the March of
Alcestis, accompanied by the priests, to the temple of Apollo, to
implore the restoration of life to her consort Admetus, king of
Thessaly. This beautiful composition seems to have suggested
to Mozart the idea of his fine religious march in the Zauberfldte.

Minuet — (Page 82).

The opening of the opera of Faust, by Spohr, (See Vol. ii. 1.)
It is called by the author, Tauzmusick. During the latter part
of it Faust enters, and delivers a recitative, to which the re-
mainder of the Minuet serves as an accompaniment.

RoNDOLETTO— (Page 84).

This is a detached piece, by Kalliwoda, a composer recently
risen up in Germany, whose works, it is said, — ^for we have yet
only seen the present Rondo — manifest extraordinary talent, and
lead to a hope that he is destined to attain the highest rank that
musical genius can aspire to.

pRELUDio B Balletto — (Page 92).

An orchestral piece, arranged for the piano-forte, from Ricci's
opera-buffa. On* Awentura di Scaramuccia. (See page 38.)

Concerto — (Page 96).

The seventh of the Twelve Concertos of Corelli, and one of the
few annually performed at the Concert of Ancient Music, at which
it is, most deservedly, held in great esteem. We have omitted
one movement, the nigue, as the least attractive part of the work.

Duet— (Page 81.)

Dolce delP anima, speme e dilettOt

Unico oggetto di questo cor ;
La pura fiamma che m'arde in petto

Sempre rawisi nel sen d'amor.

From the heroi-comic opera of Sargino, composed, and brought
out at Prague, by

FERDINANDO PAER.

This celebrated composer, who may be considered as a connect-
ing link between the Italian and Grerman schools of the latter part
of the last century and the beginning of the present, was bom at
Parma in 1774*. He studied at the Conservatorio of his native
city, under Ghiretti, a Neapolitan, and is said to. have produced
at Venice an opera, Circe, when little more than ten years of age.
He then travelled into various parts of Italy, and on his return to
Parma, the Grand Duke settled on him a pension which relieved

* Such is tfaa date girsn \j a French biographer ; hat we haTe
Ikink thai M. Fatr waa bom ntther eadier in the centnir.

Vol. IIL

him from all anxieties of a pecuniary nature. In 1795 be was in-
vited to Vienna, where he produced several operas. On the
death of Naumann, Paer became kapellmeister at the court of
Dresden, and there composed his Leonora and I Fuoruiciti. At
Dresden he was made known to Napoleon, at whose desire the
composer attended the French Emperor to Posen and Warsaw,
and gave concerts in both those cities, which Napoleon always
attended. After this he regularly entered into the service of the
French court, was appointed Imperial composer, conductor of the
chamber-music of the empress, and, finally, director of the Opera
Ifalien.

It is stated, on M. Paer's own authority, that at the age of
thirty-seven, he had brought out as many operas as he had num-
bered years, besides other compositions. Among the best of
those works are Agnese, founded on Mrs. Opie's Father and
'Daughter* ; La Griselda; II Principe di Taranto ; Camilla;
Achille ; and Sargino. The favourable reception of the last, in
the very city for which Figaro, Tito, and Don Giovanni, had
been written by the illustrious Mozart, was felt and acknowledged
by the composer to be peculiarly flattering and gratifying to him.

M. Paer has withdrawn from most of his public employments^
but continues to reside in Paris. The operatic revolution brought
about by Rossini, and the temporary success of his imitators, have
detemiined the elder composer to retire, for a while at least, in
the expectation of a restoration of his works ; and the probability
is, that the continually revolving wheel of fashion, or of public
taste, may bring such chefs-d'oeuvre as Agnese, Sargino, and one
or two others, back again to the Italian stage, which, just now, is
in a much degraded state in most parts of Europe.

Song— (Page 84).

'Tis not wealth, it is not birth,

Can vahie to the soul convey ;
Minds possess superior worth,

Which chance nor gives nor takes away.

Like the sun true merit shows,

By nature warm, by nature bright !
With inbred flames he nobly glows,

Nor needs the aid of borrowed light.

Sung by Roseita in the opera of Lorn in a Village, written by
BicKERSTAFFK, aad composed by Giardini*

It is, probably, now unknown to many, that this opera is what
is denominated a pasticcio, a selection from various composers,
among the number of which we find the names of Handel, Wel-
don, Geminiani, Galuppi, Howard, Boyce, Giardini, &c. Ame,
to whom the whole is commonly ascribed, contributed the largest
portion, but honestly afl^ed the names of the others to their re-
spective works.

FELICE 0IARDII9I,

the great reformer, if not the founder, of the violin-school in
England, was born at Turui in 1716. He was entered when a

* This ODcra wai produced at the King*! Theatre in 1817, ivhen Ambrogetti le-
preiented the principal character, Uberio^ak lather deprived of reason— with to
mttcl»tnith, that the piece was laid aside, in oompliaaoe wiUi a wish tsptesaed in a
very high qnarter.

THE MUSICAL LIBRARY.

hoj as a chorister in the Dnomo, or cathedral, of Milan, and
there received his early education under Paladini, who instructed
him in singings playing on the harpsichord, and in composition.
He, however, finally adopted the violin, which he studied under
Lorenzo Somis, one of Corelli's best disciples. At the age of
seventeen he went to Naples, and was, on the recoramendation of
Jomelli, admitted into the orchestra of the great opera-house.
In 1748 he travelled into Germany, and in 1/50 he arrived in
London, the city which was destined to be the scene of his
triumphs, and in which he soon obtained most of the posts of
honour and profit which in those days were the reward of a great
violinist. In 1756, he unfortunately joined with the famous Sig-
nora Mingotti in an Italian opera speculation, for the manage-
ment of which neither was qualified, and both were ultimately
losers to a very serious amount. In 1784 Giardini revisited
Naples, and became the guest of Sir W. Hamilton, one of his
best scholars on the violin. In 1789 he returned to this country,
and perfornied in public, but not with his former success : time,
and still, more a dropsical tendency, had much impaired his
powers. In 1793 he repaired to St. Petersburg, but there, as
well as at Moscow, he faued to produce the effect he once ex-
cited. He died in Russia in 1796, at the age of eighty, and, it is
feared, in the most adverse circumstances.

Giardini composed one oratorio, Kuth (for the Lock Hospital),
three Italian operas, several quintets, quartets, and trios, six sona-
tas for the harpsichord, and numerous son^s. The instrumental
pieces are now all forgotten, but his English songs, which are ex-
ceedingly melodious and elegant, will bear his name to posterity
as a composer*

SoNG:-(Page 86).

O i had I been by fate decreed

Some humble cottage swain,
In fair Roeetta's siffht to feed

My sheep upon the plain,—-
What bliss had I been bom to tastCi

Which now I ne'er must know !
Ye envious powers ! why have ye placed

My fair one's lot so low ?

Sung by Young Meadows, in Love in a Fillage, the words by
Henry Baker, and inserted, without any acknowledgment, in
the opera by BickerstaSe : the music by

SAMUEL HOWARD, MUS. D.

This once most favourite song-composer was educated in the
King's Chapel, under Bernard Gates. He then studied under
Dr. Fepusch, and ^aduated at Cambridge, as doctor in music, at
the time when the late Duke of Grafton was installed Chancellor
of that university. He was organist of the churches of St.
Clement Danes, and St. Bride* in Fleet Street, and died in 1782.
Dr. Burney says of him, that ' his ballads, Which were Ions the
delight of natural and inexperienced lovers of music, had the
merit of facility, &c.' This, in effect, is high praise, though in-
tended as caustic censure. Whatever long continues to please
the many must possess merit, and of a most decided kind. But
Dr. B. very reluctantly bestowed commendation on any but the
Italian music of his day. The present, and other songs by
Howard, will always be admired by persons of true taste^ whether
skilful in the art or otherwise.

Russian Air— (Page 87).

A Meditation /br his Mistress.

You are a tulip, seen to-day, —

But, dearest, of so short a stay,

That where you grew scarce men can say.

You are a lovely July-flower,—

Yet one rude wind, or ruffling shower,

Will force you hence in an hour.

You are a sparkling rose i' th' hud, —
Yet lost, ere that chaste flesh atid blood
Can show where you grew, or stood.

written by

You are the queen all flowers among,— «
But die you must, fair maid, ere long,
As he, the maker of this song.

ROBERT HERRICK^

whose poems were published in all octavo volume in 1648, under
the title of Hespeiides, or the Works of Robert Herrick, Esq. He
was born ia London in 1591, and educated at St. John's, Cam*
bridge. The Esquire added to his name seems to have arisen
from some mistake, for he was in holy orders, and received from
Charles I. the vicarage of Dean Prior, Devon, from which he was
dismissed during tl^ Commonwealth, but recovered his living
at the Restoration. The time of his death is not ascertained.

The brief air is Russian, from a collection of Russische Folks-
lieder, published at Leipzig, by Breithopf and H'artel.

Quartet— (Page 88).*

Enjoy thyself howe'er thou art :
Betide what will, man's better part

Is nerve, and right-good feeling.
Quake not at every trifling pain.
But wait till all is well again :

No grief is past the healing.

which is a free translation of the following words, to which the
music was originally set : —

Ermunterung.

Ja freoe dich so wie du hist.
Das beste dass am menschen ist,

Heisst kraft ffefOhl und Willen,
Hast du auch oft geirrt, gefehlt,
So hast du wieder dich gestablt,

Und plagst dich nicht mit grillen.

Canzonet — (Page 90).
The Lovely Land. — ^Beethoven.

* Bb. Hownd WW iftceeeded at St Bri^e*! by i\» late Mr. Richard Potter, (son
of the famous Sute^aker^ one of the ongiaal memben of the Phiihumotiic Sociehr,
a maa of gieat worth and ^ood eenie, and father of Mr. Cipriani Potter, the Vefi-
Imown composer, and Principal of the Royal Academy of Musicv

Know'st thou the land where the tweet citron grows, —
Where mid dark leaves the golden orange glows, —
Where the soft zephyrs from blue heavens breathe,
And gentle myrtles with proud laurels wreathe ?-*

Know'st thou it well ?^-11ien oh !
With thee, my dearest, thither would I go.

Know*st thou the bouse that rests on columns high,
Whose sparkling halls oppress the dazzled eye,—
Where marble figures k)ok on me so mild.
And seem to say, * and could they harm thee, child V

Know'st thou it well ?— Then oh !
With thee, my dearest, thither would I go.

Enow'it thou the mountam, and its air-built bridge,
Within whose caverns lurks the dragon's brood,—
Whence rolls the rent rock, and the rushing flood t

Know'st thou it well f— Then oh !
With thee, my dearest, thither would I go.

A translation, by W. J. Walter, Esq., of a song in Goethe's
novel, Wilhelm Meister, Book iii. chap. 7. The author hiniself
thus explains the half-concealed meaning. — **, The

voice was Mignon s. The music and general expression pleased
Wilhelm extremely j; though he eould not fully comprehend the
words. Every verse began in a stately and solemn measure, as if
she were desirous of drawing attention to something wonderful^
and had something important to communicate. In me third line
her tones became &inter and more subdued. Know'st thou it
well ? was uttered with an air of mystery and earnest iDquiry.
Then oh I then oh! manifested a boundless longing. Thither let
us go, appeared at once to implore and to impel . • . • She
stood silent for some moments, and then said to Wilhelm.
*Knoufst thou the land T — ' Surely, it can mean no other than
ItalY,'saidWahelni.- '

but further explanation is necessary to the dear understanding
of this celebrated song of Groethe.

* This if the quartet from w&icli, it has been alleged, the chbmi^ ' Vive le Sim»'
in TXe jS»e^e o/jWf//r,ia borrowed.

THE MUSICAL LIBRABT.

Wilhelm Motsier met with Mignoa when she was only ten
years of age> and in the employ of a show-man, who treated her
with ^eat severity. Mebter redeemed her from her master, and
afforded her his protection. She ever after called him 'father,*
'protector,' and became violently attached to him/' a passion
wnich was not returned. She always entertained a mysterious
longing for Italy, and her wish to repair to that country with
Meister inspired her song. We will only add, that her protector
having entered into a matrimonial engagement, Mignon, on
hearing of the circumstance^ dropped down, and instantly ex-
pired.

The following is the original German : —

Daa Gluckliche LwnA.

Kennst dn das Land wo die Zitronen bliibn, —
Im dunkeln Laab die gold Orangeii gHihn, —
Ein sanfter Wind vom blauen Himmel weht, —
Die Myrthe still und hocb der Lorbeer steht ?

Kennst du es wohl ? Dahin ! dabin *
Mocht' ich, mit dir, O mein Gelichter, ziehn *

Kennst du das Haus auf Sftulen rubt sein Dacb,**-
Es glanst der Saal, es schimmert das Gemacb, —
Und Marmorbilder stehn und sehn micb an.
Was hat man dir die armes kind getban ?

Kennst du es wobl ? Dabin ! dahin !
JllCcbt' icb mit dir, O mein beschiitzer, ziehn !

Kennst da den Berg und seinen Wolkensteg,—
Das Moulthier sucht in Nebel seinen weg, —
In hohlen wobnt der Dracben alte Brut, —
£s stiirzt der Fels, und Clber ihn der Flutb ?

Kennst du iha wohl ? Dabin ! dabin !
Gebt unser weg, O Vater lass, uns aieb'n.

Madrigal — (Page 94).

The nightingale, the organ of delight,
The nimble lark, the blackbird, and the thrush.

And all the pretty choristers of flight,

That chaunt their music-notes on every bush :

Let them no more contend who shall excel ; —

The cuckoo is the bird that bears the belL

composed (originally in the key of d) by

THOMAS WEELKES,

* Organist of Winchester, and afterwards of Chichester, was author
of madrigals to three, four, five, and six voices, printed in 1$97.
He also published, in 1598, BaUaU and Madrigals to Five Voices,
with one to Six Voices; and in 1600, Madrigals of Six Parts, apt
for the Viols and Voices. He likewise composed services and an-
thems. There is extant also a work entitled ** Ayeres, or Phan-
tasticke Spirits, for Three voices, made and newly published by
Thomas Weelkes, Gentleman of his Majesty'/Chapell, Bachelor
of Musicke, and Organist of the Cathedral Church of Chichester,
Lond. 1608." This collection contains a songfor six voices, en-
titled, "A Remembrance of my Friend, M. Thomas Morley." '
(flau;Kiw, iii. 362.)

Aria— (Pige 98).

Down, down, a thousand fathom deep.

Among the sounding seas I go.
Play round the foot of every steep.

Whose clifis above the ocean grow.
In coral bowers I love to lie

And hear the surges roll above.
And* through the waters view on high

The proud ships sail, and gay clouds move.

And oft at midnight's stillest hour,

When summer seas the vessel lave,
I love \o prove my charmful power,

While floating on the moonlight wave.
And when deep sleep the crew has bound.

And the sad lover mnunff leans
O'er the ship's ude, I breathe around

Such strains as speak no mortal means.

Sometimes a single note I swell.

That softly sweet at distance dies ;
Then wake the magic of my shell.

When choral voices round me rise :
The trembling youth, charm'd by my strab.

Calls up the crew, who silent bend
O'er the high deck, but list in vain : —

My song is hush'd, my wonders end.

The poetry by Mrs. Radcliffe.

ANN RADCUFFB,

the universally-known author of The Mysteries of Udolpho^ The
Italians, The Romance of the Forest, &c., was born in London in
1764. Her maiden name was Ward, and she married Wm. Rad-
cliffe, Esq., an Oxford graduate, who studied for the bar, but
becoming proprietor of the Enalish Chronicle, devoted himself to
the editing of that paper. Mrs. RadclifTe died in 1823. The
music is by C. Keller, a composer and master of reputation in
Germany, though we are not in possession of any particulans
relating to him. The air to which we have adapted the above
words, begins ' Der holden Blumen bunter Schimmer.' The
author calls it a rondo, and directs it to be performed in Tempo
di Bolero.

ALGERINE MUSIC.

The Letters from the South, in the last few numbers of The JVetip
Monthly Magazine, avowedly from the pen of one of the best
poets of this Augustan age, Campbell, have been very generally
read, and as generally admired for the information they convey
on matters with which we are very little acquiiinted, and for tli^
lively, unaflFected style in which they are written. The author
viewed every thing with the eye of a poet, and describes what he
saw with the pen of one ; while, without w^ishing to appear pro-
found, his remarks often betray the depth of his reflections and
the philosophic apixit which animated him in his inquiries.

Much pleased with ^1 he has ^aid on the subject of that
ancient abomination — the seat of joeckless, systematized piracy-^
now become a French colony, we nevertheless have as a matter of
course directed our attention chiefly to what he has said on the
music of the Algerines, or more properly speaking, perhaps, on
the music of the Arabs.

M. De Laborde, in his voluminous Essai sur la Musique, says,
that among the Turks and Arabs, people of any distinction think
it beneath them to learn music and dancing; hence the slow
progress made by them in arts which have arrived at such a
degree of perfection in Europe. However, not all the singers
and musicians of the east are in a state of ignorance on these
subjects. *

The sailors are commonly the best musicians of Arabia, con*
tinues the same historian, but their songs are as dull as uniform.
They always compare their mistresses to the cucumbers of
Damas, and their large black eyej? to the eyes of the gazelle,
while they are equally eloquent in praise of their yellow hands
and red nails. All their airs are sung alternately ; that is, one
sings a couplet, the others then repeat the same words and air,
three, four or even five notes lower ; and when they have not a
tambourine to beat the measure, they give it by clapping their
hands.

Nearly all their airs are simple and grave ; they require the per-
formers to articulate so distinctly, that every word is thoroughly
understood, — a practice which we in Europe should do well to
imitate.

M. De Laborde inserts the following Bedouin air, called The
Mismou/ne, which, he tells us, is very popular and much cele-
brated.

h^ffA

F P"r

tz=iz:

p=i=

Ta men mel-leck

na dfi - ay

na- at

jebb

pc=p:

Ws:

#— #

*±L

Id * el • Ij isk heuee su beb hat - sa ai

aa • at - a - leb*

F 2

.52

THE MUSICAL LIBRARY.

Another, apparently a dance tune, is thus noted :

? pr=f=^

While on a continental tourof pleasure, a mere accident led Mr.
Campbell to visit the northern shores of Africa ; and his residence at
Algiers was rendered so agreeable by the marked attentions be re-
ceived from the French officers stationed there, that, prolonging his
stay far beyond the time he originally intended to remain, he passed
more than twelve months in the new settlement of our neighbours.
By a curious coincidence, his friend the Chevalier Neiikomm was
led to the same place^ and there found the English poet. The
two soon combined their talents : Mr. Campbell wrote an ode,
M. Neiikomm set it to music, and it was performed in the house
of Mr. St. John, the English consul residing at Algiers, much to
the delight of many French officers, and some of the principal
Turks and native inhabitants, who were invited to hear the joint
production of the English and German visitors.

We now proceed to extract Mr. Campbell's account, and speci-
mens of the music— whether it be called Algerine or Arab —
which he heard during his stay on the coast of Barbary.

• To start a livelier subject than tombs and epitaphs — I have transcribed
for you a few Algerine melodies. I expressed to you a mean opinion
of the native music, and if you heard it fiddled and flageoleted by the
minstrels here, I think you would not blame me for fastidiousness.
They certainly execute their tunes like executioners. At the same time,
I imagine I have undervalued the intrinsic merit of their music, from the
* Wretchedness of its performers ; for incomparably better judges than
myself tell me, that many of the native airs are expressive and pleasing.
Madame de Verger says so, and such is the opinion also of my inspired
.and valued friend, the Chevalier Neukomm, whom I have met at Algiers.
Of all happy incidents, that which I least expected in Africa was to meet
,thi8 great man — the nephew of Haydn, worthy of his uncle — the composer
whose touches on the organ are poetry and religion put into sound. He
has crossed the Mediterranean merely to visit his friends the De Ver-
gers. Colonel De Verger called on me the other day, bringing the
*Keukomm with him ; I need not tell you how I greeted him — we talked
about Algerine music, and he told me that he found something in it
which he hked for being natural and characteristic. I said, " You sur-
prise me, Chevaher ; then I suppose you can admire even our Highland
"bagpipes?" " Nay," said Neukomm, "don't despise your native
pibrochs ; they have in them the stirrings of rude but strong natiure.
'When you traverse a Highland glen you must not expect the breath of
roses, but must be contented with the smell of heath : in Uke manner,
jeven Highland music has its rude,. wild charms."

* Well, upon reflection, his words seemed to confirm me in the opinion
that the greatest artists are the ablest discoverers of merit, be it ever so
rude and faint, in works of art. Our poets, Scott and Gray, could dis-
cover genius in barbarous ballads that had eluded the obtuseness of
common critics. Our sculptor Flaxman walked among the uncouth
statuary of old Enghsh cathedrals, where defects of drawing and pro-
portion are obvious to the eyes of a child. A surface critic would have
derided those monuments ; but Flaxman*8 eye penetrated beyond their
shape into their spirit — he divined what the sculptor had meant, and
discovered tender and sublime expression. I send you a few native
liirs. The words are not even an attempt at poetry — but mere nonsense
verses to point out the measure.

No. 1.

Moderaio,

^H/T-y^

Qive me xo - les, and en-twine Ro -

'^Mr r T -HH

^!^*^

4 Vir'JTnj qj^l J -^IJ r H

wzeaths^-

wHh eg - - Ian

tintt.

'^ ^^

No. 2.

Allegretto.

;^-4-^

4 d k

Joy to

day! ba - niih

SC.

1- py

Joy to - day! ba - null

f^ ^ i n

fn^ ^

■or- row; Let vm laiigfa till to -

.et Hi laiiefa till to - mor • ion

No. 8.

Allegretto
Moderaio,

f^t^'^ ■ rU' Ji J ^

Noo - shi - na, come, and with tfaee

<?:

fe^

ISpS

bring, The cas - ta - n^, tlio pipe, and itxing^

^=^ffl

f^=^

And let us laugh, - - - . and dance, and sing.

m=g£i

No. 4.

Allegro.

j .cs i ir^ . j J3 J S-J

^=^

:fc=tE

• ' p

Come I let us haste a - way, Night's fled, be

fei^

THE MUSICAL LIBRARY.

jS3

W=^

hold, >tii day.

All

to the fieldi te - pair.

frfp i Lf.f , ;;.^

-i-JS-

Who - ther black, or bzowo, or fair.

T^ ^

n , J Jl , J-T; i^

fc^ —

No. 5.— MARTIAL AIR.

J.J-J]>pl^T^

?:i3C

hear the horses prancing : Now to anns ! Let all be

t=»=r

muh

^St

mE^

rea-dy. Be bold, be cool, and stea - dj. Be

mear.

■•— «

:fe

T=^

boldy be cool» and stea - dy.

mt=tt

■€ — m

# — m-

^=^

' * Silica my ratam to Kngland, I gave the above airs to a friend who is a
tiioroiigh master both of the science and history of music ; he has set them to
Soropeaa accompaniments. Though Madame de Verger had the goodness to
ttaaseribe these tonesfor me, I nerer had the good fortune to hear her sing or play
them, ^d ooDld judge of them only as they were performed on the wretched native

ifistmmenu. But when my friend A had eet a bass to them, and played them

OGL the piano-forte, I oonld at once discern that they are not without beauty. They
flfmind me of Scotch tunes* though not of those of the first order.

'My friend says, in a note to me, « Tou must have misonderstdod i^hat Madataia
de Verger said about the rhythm. Bad execution might obscure it to your ear,
but it could not to hers.^ No. 4, however, is a little faalty, stcicily speiJd«g, ia
rhythm.'*

* <^ The Arabians," my friend adds, '' never had harmony in their music They
doubled their instruments and voices, and sang and played in octaves ; but of that
which constitutes the charm of modern composition, they seem to have been as
ignorant as the Greeks.

' " There is a remarkable resemblance between the Arabian and modem scales, and
this is still more striking on examining the three Arabic charaucters by which each
interval of the scale is marked. These intervals the Arabs called dourr mofassalf
I. e. pearls separated." *

A COMPOSER'S REMARKS ON MUSIC.

In the Musical Library, four compositions by Jackson of Exeter
have already appeared, and two others, at least, will follow.
Originality and grace are his attributes : there is in his works a
total absence of those phrases,^-cant phrases, they may be
called, — which, though fashionable and admired at the time^
soon became vulgar and distasteful. He wrote not only for his
own age, but for future ages. He is already admitted into the .
list of classical English composers, and will hereafter, when the
' venerable garb of antiquity ' is thrown over him, be better known
and more esteemed than at the present period ; though even now.
all real judges of musical excellence justly appreciate his best
productions.

William Jackson was decried by his professional contempo-
raries, for he was superior to most of' them in genius, and infi-
nitely beyond them in education, and in those attainments which
become a gentleman. He was a critic too, and wrote as well as
said pungent things. We have been told by those who knew him
well, that he was occasionally very indiscreet^ and, without provo-
cation, expressed himself in language neither justified by the laws
of good manners, nor easily forgotten. This we mention, not for
the purpose of reviving what is now almost forgotten, but to ac-
count for the cold language in which musical people, generally,
speak of him and his works, and for the comparative neglect with
which even the best of them are treated.

The mind of Jackson was of large calibre ; it was powerful
and active ; he thought for himself, and commonly thought right.
His Thirty Letters on various Subjects, and his Four Ages, to-

? ether with Essays on various Subject^, display the extent of his
nowledge, the correctness of his judgment, and the originality
of his conceptions. From those volumes music is not wholly
excluded, though it occupies only a small portion of them. . But
what he has written on the subject is so much to the point, his
criticism is so just, and he has expressed his opinions in such
easy, appropriate language, that we feel it a duty to make further
known the principles which he has indirectly endeavoured to in-
culcate ; reserving to ourselves the right to differ from the author
in what he has advanced concerning the influence of music in
exciting passion.

Of the Thirty Letters three are on the art he professed. These
we now reprint from the third edition of his work, — a work be-
come exceedingly scarce, — and give a title to each in accordance
with the subject on which the author treats. And in our next,
or an early Number, propose to insert the three Essays relating
to music, from The Four Ages.

ON MUSICAL EXPRESSION.

True, my friend, musicians da commit strange absurdities by
way of expression, but fanciful people make them commit others
which they never thought o£

The most common mistake of composers is to express words
and not ideas. This is generally the case with Purcel, and fre- .
quently the case with Handel. I believe there is not a single
piece existing of the former, if it has a word to be played upoHj
but will prove my assertion ; and the latter, if the impetuosity of
the musical subject will give him leave, will at any time quit it
for a pun. There is no trap so likely to catcb' composers as the
words high and low, down and up. " By G — ,^* as Quin says,
" they must bite.*' In what raptures was Purcel when he set
'' They that go down to the sea in ships." How lucky a circum-
stance, that there was a singer at that time, who could ^o down

' * The 3d e^tion'of tlie Thirty Lettert was jmblishcd in oa« toL 8to. in 1795 ;^
T%i Fattr Jge§ appeared in the same fitfn, in 1/98.

P 3

THE MUSICAL LIBRARY.

to DJ>, and go up two octaves aboTe> for there is in other parts of
the anthem a going vp as well as dovm^ The whole is a constel-
lation of beauties of this kind. Handel had leisure, at the con-
clusion of an excellent movement, to endeavour at an imitation of
the rocking of a cradle. (See the end of the anthem " My heart
is inditing,") and has bis. tip* and dotms too in plenty. If many
examples of this may be found in these ffreat geniuses, it would
be endless to enumerate the instances of those of the lower order.
Let it suffice to observe, that all operas without exception, the
greatest part of church-music, and particularly Marcello's psalms,
abound in this ridiculous imitative expression.

This is trifling with the words and neglecting the sentiment ;
but the fault is much increased when a word is expressed in con-
tradiction to the sentiment A most flagrant instance of this is in
Boyce's Solomon, in the song of " Arise, my Fair One, come
away.^ The hero of the piece is inviting his mistress to come to
him, and to tempt her the more, in describing the beauty of the
spring, he tells her that

Stern winter's ffone, with all its train
Of chiUing;fro9t8 and dropping rain.

But it IS come, in the music — the unlucky words of winter, froH,
and rain, made the composer set the lover a shivering, when he
was lull of the feelings of the *' genial ray !"

But sometimes expression of the sentiment is blameable, if such
expression is improper for the general eflfect of the piece. Reli-

E'ous solemnity should not appear at the theatre, nor theatrical
nty at the church. In the Stabat Mater of Pergolesi, and in
the Messiah of Handel, there is an expression of whipping at-
tempted, which, if it be understood at all, conveys either a ludi-
crous or profane idea, according to the disposition of the hearer.
Permit me to suspend my remarks a moment, just to observe, that
there is sometimes mention made in plays, of Providence, God,
and other subjects, which are as incompatible with a place of pub-
lic entertainment, as the common sentiments of plays are with ,
the church. If we are disgusted at a theatrical preacher, we are
not less offended when an actor heightens all these ill-placed sen-
timents — forcing them upon your notice by an affectation of a
deep sense of religion, and most solemnly preaching the sermon
which the poet so improperly wrote.

All these, and many more, are faults which musicians really
csommit ; but a connoisseur will make them guilty of others, by
way of compUment, which the composers never dreamt of. The
ititroduction of the Coronation Anthem, ''Zadok the Priest," is an
^peggio, which Handel probably took from his own perform-
ance at the harpsichord ; but a great judge says, it is to express
the muiteurs of the people assembled in the abbey. ** All we
like sheep are gone astray," in the Messiah, is considered as most
excellently expressing the breaking out of sheep from a field.
But out of pity to the connoisseurs I will not increase my in-
stances, God forbid I should rob any man of his criticism.

Lest I should encroach upon your premises, I will quit such
dangerous ground, and leave you with more celerity than cete-
mony.

ON CATCHES.

The productions of genius require some ages to be brought to

Jerfection. The liberal arts have their infancy, youth, and man-
ood ; and, to carry on the allusion, continue some time in a state
of strength, and then verge by degrees to a decline, which at last
ends in a total extinction. The English language, poetry and
music, exhibit proofs of this observation, as far as they have
liitherto gone : with the two former I have at present nothing to
do, but snail confine what I have to say on this subject to the
latter.

What the music of the times preceding Henry VIII. was I
confess myself ignorant, nor indeed is the knowledge of it neces-
sary ; we may conclude that it was more barbarous than that of
the sixteenth century, as the times in which it was used were lea»
ealightened. Some masses, motets, and madrigals are what
have reached U9> consisting merely in a succession of chords with-
#ut art or meaning, and perfectly destitute of air.
. In Elizabeth's reign appeared some composers, Taliis, Bird,
Morley, and Farrant, who improved the barren style of their
]»'edeces8ors : they had more choice in their harmony, and made
some little advances in melody. There were some pieces of in-
strumental music composed at this time which still exist; par-
ticularly a book of lessons for the virginals, which was the

Queen's. Whether the composers thought that her sacred Ma-
jesty excelled in musical abilities as mu<m as in rank, or as she
wished to do in beauty, I know not; but this is certain, that
these pieces are so crowded with parts, and so awkwardly bar-
barous^ as to render the performance of them impossible— so
natural is it, even in the infancy of art, to mistake difficulty
for beauty.

I do not recollect any composer that really improved music for
the first half of the seventeenth century, except Orlando Gibbons,
of whom a service for the church, and two or three anthems
remain, the harmony of which is good, and the melody, for the
times» pleasing. In the '' Gloria Fatri" of the Niine dimitHi is
the best canon, in my judgment, that was ever made. Gibbons
was also a composer for the virginals, but in no respect better
than his predecessors. I believe it was about this time that the
species of canon called the catch, was produced. The intent of
my making this short recapitulation of the former state of music
is purely prefatory to what I have to say upon the subject of
catches.

This odd species of composition, whenever invented, was
brought to its perfection by Purcell. Real music was as yet in
its childhood ; but the rei^n of Charles II. carried every kind of
vulgar debauchery to its height : the proper sera for the birth of
such pieces as, " when quartered, have ever three parts obscenity,
and one part music."

The definition of a catch is a piece for three or more voices, one
of which leads, and the others follow in the ^ame notes. It must
be so contrived, that rests (which are made for that purpose) in
the music of one line, be filled up with a word or two from
another line; these form a cross-purpose or catch, from whence
the name. Now, this piece of wit is not judged perfect, if the
result be not the rankest indecency.

Perhaps this definition may be objected to, and I may be told
that there are catches perfectly harmless. It is true that some
pieces are called catches that have nothing to ofiend, and others
that .may justly pretend to please; but they want what is abso*
lutely necessary for a catch — the break, and cross-purpose.

It may also be said, that the result of the break is not always
indecency. I confess there are catches upon other subjects:
drunkenness is a favourite one ; which, though good, is not sa
very good as the other : and there may possibly be found one or
two upon other topics, which might be heard without disgust ;
but these are not sufficient to contradict a general rule, or make
me retract what I have advanced.

I will next examine their musical merit, — and this, as compo-
sitions, must consist either in their harmony or melody, or their
effect in performance.

The harmony of a catch is nothing more than the common
result of filling up a chord ; there is not contrivance enough ta
make it esteemed as a piece of ingenuity. " What ! they are all
canons !" So is every tune in the world, if you will set it in three
or more parts, and sing these parts in succession, as a catch —
but a real canon is not so easily produced ; it is one of those
difficult trifles which costs an infinite deal of labour, and after all
is worth nothing. The excellence in the composition of a catch
consists in making the breaks, and filling them up properly.
The melody is, for the most part, the unimproved vulgar drawl
of the times of ignorance.

Let us next attend to the manner of performance. One voice
leads^ a second follows, and a third, &c., succeeds, unaccompanied
with any instrument to keep them in1;une together. The conse-
quence is, that the K)ices are always sinking ; but not equally,
for the best singer will keep nearest the pitch, and the others
depart farthest from it. If the parts are doubled, which is some-
times the case, all these defects are multiplied. To this, let
there be added the imperfect scale of an uncultivated voice, the
departing from the real sound by way of humour, the noise of so-
many people striving to out-^sing^ each other, Ae obnfuaion dt
speaking different words at the same time, and all this heigfatetied
by the laughing and other accompaniments of the audience— it
presents such a scence of savage folly, as would not disgrace the
Hottentots indeed, but is not much to the credit of a company ot
civilized people.

As the catch in a manner owed its existence to a drunken club»
of which some musicians were members ; upon their dyings it
languished for years, and was scarce known exeept among choir-
men, who now and then kmt up the spirit of their forefathers*
As the age grew more polished, a better style of music appeared..

THE MUSICAL LIBRARY.

Corelli gave a new turn to' instrumental music, and was success^
fully followed by Geminiani and Handel : the last excellent in
vocal as well as instrumental music*

There have been refinements and confessed improvements upon
all these great men since ; and at this time there are much better
performers, and certainly more elegant, though perhaps less solid
composers*

Now, if this were speculation only, is it credible that taste
should revert to barbarism ? Its natural death is to be frittered
away in false refinement ; and yet, contrary to experience in every
other instance, we have gone back a century, and catches flourish
in the reign of George III. There is a club composed of some of
the first people in the kingdom, who meet professedly to hear this
species of composition ; they cultivate it and encourage it with
premiums. To obtain which, many composers, who ought to be
above such nonsense, become candidates, and produce such
things —

*— — one knows not what to call.
Their generation '■ w equivocaL

Sometimes a piece makes its appearance that was lately found
Vy accident, after a concealment of one hundred and fifty years.
When it is approved, and declared too excellent for these degene-
rate days, the author smiles and owns it. I scarce ever saw one
of these things that did not betray itself, within three bars, to be
modem. All ancient music has an awkward barbarity in its first
conception and structure, which, in these days of refinement, it is
almost impossible to imitate, so as to deceive a real judge of the
subject.

I profess that I never heard a catch sung, but I felt more
ashamed than I can express. I pretend to no more delicacy than
that of the age I live in, which is very properly too refined to en-
dure such barbarisms — I was ashamed for myself — for my com-
pany — and if a foreigner was present — ^for my country.

It has just occurred to me that you like catches, and frequently
help to sing them — revenge yourself for the liberties I have taken,
by compelBng me. to bear some of these pleasant ditties, when
perhaps I may be forced to sing in my own defence.

Adieu, &c.

P. S. If you should have a design to convert me, take me to
the catch-club. I confess and honour the superior excellence of
its performance, while I lament that so noble a subscription
should be lavished for so poor a purpose as keeping alive musical
fidse-wit, when it might so powerfully support and encourage the
best style of composition ; and rather advance our taste by anti-
cipating the improvement of the coming age, than force it back to
times of barbarism, from which it has cost us such pains to
emerge*.

THE PASSIONS NOT EXpiTED BY MUSIC.

Is there not something very fanciful in the analogy which some
people have discovert between the arts? I do not deny the
amntmme giwddam vmculum, but would keep the principle within
its proper bounds.

Poetry and painting, I believe, are only allied to music and to
each other; but music, besides having the above-named ladies for
asters, has astronomy and geometry for brothers, and grammar
£>r a cousin^ at least.

The intervals of an octave have been made to illustrate the
seven primitive rays of light, and the old planetary system. Seven
is one of the mystical numbers, it has hidden meanings and con-
^nexions which are unknown but to those who are deep in the
sciences — ^though we all know that there are seven wise masters,
«even wise mistresses, seven wonders of the Peak, and seven won-
ders of the world.

Music is also supposed to have a command over the passions.
.This is a doctrine of great antiquity, and has existed to the pre-
sent times. Timotbeus^ in Dryden's ode, inspires Alexander with
fijLj, love, rage^ and ^very other .passion to which the human
Jieart is subject

** What passion cannot music raise or quell?" says Pope; and

■^^mmm ■ i i i .i, ■■■ ■ . ■ n .. ., , ,,,i . ^i i i i ^

* The snbject of thit letter has heen much misanderitood. It is considered as a
hitter philippic against singing in parts, and musical effiisioDS of mirth in comnauy.
The letter itoelf, warranting no such eonstraetion, is the onlj reply 1 shsAl make to
ihia accusation, eseept remaining, ihat it is not the mtrlA of the catch which is le-
ptoved, but its vu^arity. Nor do the observations extend to thoee pieces in parts
srhieh are not catches, as has been imagined. Can it be supposed tnat the author,
who has published so many eomposiBons for two, three, and four Toioes, would en«
deavoos to establish principles to prevcni their bang perfnrnad, and make his mm
— ^1 the object of hU satin?

the same thought has been so often expressed, and is now so ge-
nerally adopted by all poets and writers on this subject, that it
would be a bold attempt to contradict it, were there not an imme-
diate appeal to our experience and feelings, which must be held
superior to authority of ever so long prescription.

Thus supported, then, I ask in my turn — *' What passion can
music raise or quell ?** Whoever felt himself affected, otherwise
than with pleasure, at those strains which are supposed to inspire
grief — rage— joy — or pity ? and this, in a degree, equal to the
goodness of the composition and performance. The effect of
music, in this instance, is just the same as of poetry. We attend
— are pleased — delighted — transported — and when the heart can
bear no more, " glow, tremble, and weep." All these are but
different degrees of pure pleasure. When a poet or musician has
produced this last effect, he has attained the utmost in the power
of poetry or music.

Tears being a general expression of grief, pain, and piety ; and
music, when in its perfection, producing them, has Occasioned the
mistake of its raising the passions of grief, &c. But tears, in fact,
are nothing but the mechanical effect of every strong affection of
the heart, and produced by all the passions — even joy and rage.
It is this effect, and the pleasurable sensation together, which
Ossian (ancient or modem as you please) calls *' the joy of grief."
It is this effect, when produced by some grand image, which Dr.
Blair, his critic, styles the ** sublime and pathetic." And this
will explain why the tyrant shed tears at a tragedy of Euripides,
who was insensible to the sufferings of his subjects.

I have chosen to illustrate these observations from poetry rather
than from music, because it is more generally understood and
more easily quoted ; but the principle, though powerful in poetry,
is certainly strongest in music. Painting does not impress the
eye with any sensation of suflScient force to excite this effect. I
never saw tears shed by any person looking at a picture — from
hence it may be justly inferred that the sensations from painting
are less strong and tumultuous than those from poetry and music^

Adieu, &c.

THE IMPROVED DOUBLEDRUMS.

In our last volume (pages 88 and 101) we noticed a great im-
provement made in the double-drum, by which the performer is
enabled to tune the instrument by a key acting at once on the
whole skin, instead of being applied, as heretofore, to several
screws fixed on the rim of the drum ; and to alter its pitch almost
instantaneously, so as to be capable of meeting any change of
key, or mode, durine the actual performance of any piece in
which the instrument is employed. By this ingenious contrivance
many notes are added to the scale of the drum, a greater degree
of precision is acquired, and by the simultaneous straining of the
head, or vellum, a more umform tension is produced, and the
vibrations are more equal in quality.

The inventor — Mr. Charles Ward — of this new method, the
utility of which is undisputed and indisputable, having exhibited
his improved drum to the Society of Arts, that active and useful
body, on the recommendation of their Committee of Mechanics,
voted him their gold Isis medals as a testimony to the merit of his
ve^ important invention.

The following is a copy of the resolution which governed the
society in its decision : —

* Society ofArUy Committee of MechamcSf Dec. lOth^ 1835*
' Resolved,

* That Mr. C. Ward's improvement of the kettle-drum, by facilita-
ting its mode of tuning, and by extending its scale, has effected a great
and important improvement in that instrument.

* I recommend to the society to present Mr. C. Ward with the
gold Isis medal for his invention, &c.

' Arthur Aikin, &c.'

The drum exhibited to the society was thirty inches in diame-
ter, and capable of rendering five tones above, and as many be-
low, the scale of the common instrument. It was also shown,
that, although a force equal to 2800 pounds was necessary for the
production 5[ the highest tones, yet the operation of raising the
drum to this high pitch can be ^performed by the action of one
finger only, so ingeniously is the machinery contrived for the
purpose.

It is surely unnecessary to express a hope that, in future, no
other double-drum will be admitted into the orchestra; and we

THE MUSICAL LIBRARY.

are happy to learn that Mr. Chipp, who performs at the Philhar-
inomc Concerts, the Italian Opera, &c., has applied to his own
instruments the newly-inventea machinery of Mr. Ward.

PHILHARMONIC CONCERTS.

FIRST CONCERT, MONDAY, FEBRUARY 22.

Act L

Sinfonia, No. 7 • • BBBTHOvmii;

Sceoa, Mrs. H. R. Bishop, ' Di primaTenu' {Dei Falkntr't

Braut) Makscbnxr.

Concerto (in b flat) piano-forte, Mr. Moscheles . . . Bbbthotbic.
Daetfo> Mrs. Seguin and Mrs. H. R. Bishop, * Ah facciamo.'

(Jettonda) *•...... Spohb.

Overture. MeeretstiUe (first time of Performance) F. Mbndblssohm Bartboldt.

Act ir.

Sinfonia, No. 9 Hatdn.

Aria, Mrs. Alfred Shaw, < O salntaris Hostia 1'* • • . Chbbubini.
Quartetto, two violins, viola, and violoncello^ Messrs. Mori,

Watts, Moralt, and Lindley Hatdn.

Quartetto, Mrs. H. R. Bishop, Mrs. Seguin, Mrs. A. Shaw, and

Mr. Homcastle, ' Andrd ramingo e solo.' {Idomeneo) • Mozart.

Ovettore, Ettrytmthe . • CM. von Wbbbb.

Leader, Mr. F. Cramer.— Conductor, Sir George Smart.

With the present performance commenced the twenty-fourth
series of these concerts. Should the season proceed as it has thus
begun, we shall no longer entertain a fear that the society, con-
tent with the laurels it nas already won, are inclined to slumber
under them. That the members at large recently felt the neces-
sity of renewed activity, is pretty well known, and a law was in
consequence passed to prevent canvassing for the office of direc-
tor, a practice which had become common, and was beginning to
prove highly prejudicial to the bterests of the society, by exclud-
ing from the management several whose services were most de-
sirable, but who would not condescend to solicit votes, and by
placing in power those who, however valuable while acting under
orders, are not the most fit to issue them.

This year the subscribers have been allowed to transfer their
tickets, gentlemen to gentlemen, and ladies to ladies, in their own
families, a privilege which, it is to be presumed, has been con-
ceded in consequence of the multitude of new concerts that have
started up, and the competition which, naturally, ensued. It
must follow, however, that the room will always be fuller than

Juite convenient, as was the case on the present occasion ; but the
Philharmonic orchestra is toa expensive an establishment to
allow any reduction in the receipts.

The whole of this excellent selection went off in the most ad-
mirable manner. The potency and zeal of the band continue
undiminished, and the appetite of the company for music of a su-
perior order is not only unsatiated, but evidently on the increase.

Beethoven's seventh symphony, in A, was splendidly performed :
the incomparable movement, in a minor, received an encore from
all quarters of the room. But we have courage enough to ex-
press a wish that some of the repetitions in the first movement
were made to undergo the operation of excision. As a whole it
is too long, whatever blind enthusiasm may lead the votaries of
this great composer to say or think.

The new overture by Mendelssohn, to which he has given a
name that may be translated The Calm of the Sea, must not be
finally judged of after a single hearing. On further acquaintance
it may develope beauties which do not at first disclose themselves.
We nevertheless will venture at once to say, that the first move-
ment, descriptive of a calm, possesses great beauty, the design is
clear, and all the instruments are made to co-operate admirably.
Of the second movement — ^which, by-the-bye, seems to indicate a
rather turbulent ocean — ^we must suspend our opinion ; though
we may observe, that parts of it reminded us of Weber, Beet-
hoven, and the author himself.

Haydn's ninth grand symphony, one of the twelve composed
for Salomon, was a most perfect performance ; as was the spi-
rited and melodious overture to Euryanthe, which, to our great
satisfaction, most of the company remained to enjoy.

Beethoven'*s concerto may be considered as a symphony, with
an obliga^o piano-forte part. The entire orchestra is engaged in
it, not merely to accompany, but to take an equal share with the
principal instrument. It is a composition in which the author's
genius appears in almost its brightest colours. Originality is its
prominent feature, but devoid of any of those bizarreries that
Beethoven now and then indulges in. The melody is more dis-

tinct in this than in many of hb elaborated works,— it lies nearer
the surface, and is discovered without exploring. The slow move-
ment, in B major, is deliciously tranquil; a short, soothing piece
of harmony of the most balmy kind ; and in the finale the com-
poser ^ves himself up to hilarity and joy. The manner in which
Sir. Al oscheles performed his very difficult part in this, is beyond
all praise. How few are there that can do it justice ! for not only
are the greatest powers of execution necessary, but a critical know-
ledge of the authors style, and a general judgment, which few

The quartet was that in c, opera 76, and a most finished per-
formance it proved. The lovely air, the hymn for the Emperor
Francis, with its divine amplifications,->-(they are of too high a
kind to be called variations) — ^made a remarkably deep impression
on the audience. Mori never appeared to greater advantage : he
here displayed all the feeling, tne refinement of his master, the
never-to-be-forgotten Viotti.

Mrs. Bishop sang Marschner's scena very sweetly, and by
abridging it, as we recommended in our notice of the fourth Con-
cerio da Camera, rendered it very effective. Spohr's charming
duet was ably performed ; and Mrs. Shaw (late Miss Postans),
in Cherubini's most impressive motet, was very deservedly encored.
The quartet from Idomeneo was judiciously reserved till the
last, — as a bonne bouche. We hardly need say how much this
almost sublime composition was relished.

VOCAL SOCIETY.

FIRST CONCERT, MONDAY, FEBRUARY 1.

Act I.

Anthem, 'GkNi it gone np* .••••• Dr. Croft.

Glee, 'A knight there came' • T. Cookb.

Song, Mr. Parry, Jun., < Sitters of Acheron' • • • Dr. Cjllxcott.

Madrigal, < Sittert, awake t * Batbson, 1601.

Trio and Chonia, ' Sicut locutus ett' Fbmoglxo.

Ode to St Cecilia • . . . • • • • Wbbbb.

Cavatina, Mrs. Btihop, < There blooms a flower' • • Bubop.

Scene, * Sweet peace, all hail I ' {Euryanthe) ; • • Wbbbb.
Diatjogo Brillaktb, flute and clarinet ; Messrs. Nicholson and

Wiilman • Bochsa*

Act II.

* Gloria in Excelsis ' Haton.

Canzonet, Miss Woodyatt, ' The season comes when first we

met' • • • • Hatdn.

Glee, < How sweet, how fresh!* ..... Paxton.

Duett, Miss Woodyatt and Mr.Hobbs, < Together let us range

the fields* DR.boTCB.

Finale of Coti/an Tuite Mosabt.

Madrigal, ' Flora gave me fairest flowers* , . • Wilbtb, (1598).

Aria, Mr. Balfe, * LietiTOci.' {Zaira) • • • • Mbbcadantb.

Glee, < Up 1 quit thy bower r Bisbop.

Finale to Qiu/io Cetare • •••••• Hamsbu

There were some apprehensions that the Vocal Concerts would
be suspended this year, but the opinions of the members of the
society were brought to agree, and the present performance began
the fourth season.

Dr. Croft's anthem, a masterly composition, was well per-
formed; but we doubt whether music of this kind is calculated
for a concert-room. That it is generally received with much cold-
ness is undeniable, a symptom to which attention should be paid»
for an audience must be pleased. There is no forcing-pump for
taste.

Dr. Callcott's song is not at all suited to Mr. Parry, jun. ;
whatever is gentle and elegant may very safely be assigned to
him, but nothing that demands force and energy.

The trio of Fenoglio is a charming work. It was found a few-
years ago by an English barrister, on a book-stall in Rome, and,
with a lar^e parcel of other things, purchased by him for about a
crown. We have in vain searchra for the name of this composer :
in no biographical work that we possess do we find it.

The two madrigals were so much admired, and so well exe*
cuted, that both were encored. Webbe's Ode to St Cecilia is less
known than it deserves to be. It is exactly adapted to the capa*
bilities of this vocal band. The opening scene from Eurvanthe^
melodious and simple, made a very agreeable contrast. A piece,
most farcically denominated a Dialogo brillante, a feeble thing in.
itself, was admirably executed ; but we much regretted to nud
the name of Bochsa in the promm.

Haydn*s ' Gloria* is, as it should be, a joyous piece x>( vocal
harmony ; but his canxonet 'The Season comes,' is, in point of
genius and effect, worth half a dosen of bis masses. Theexqtii-

THE MUSICAL LIBRARY.

sitely sweet and very clever glee of Paxton was unanimously
called for a second time ; and Dr. Boyce's duet will always prove
effective when delicately sung. One of the merits of this beautiful
composition is^ that there is nothing jpo^^^'e in its manner ; it was,
is, and will be, admired by all true judges.

We have heard the finale to Cosi fan iutte much better per-
formed. Mr. Balfe^s singing afforded us the greatest pleasure ;
the aria itself very little satisfaction.

SECOND CONCERT, MONDAY, FEBRUARY 15.

Anfhem, < Behold how {(ood and joyful »

Pa»t I.

, ^ j^^ , . , Batthhill.

Glee, five Toices, * O snatch me swift ' . . .Dr. Callcott.

Scena, Mn. £. Seguin, < Per pietk/ (Cotifam iutte,') • . Mozart.
Hadri«a,< The Lady Oriana' .... Wilbyi (1598.)

Duet, Mn. E. Seguin and Mr. Balfe, < Dearest, let thy footsteps

follow,' {FmatT) ........ Sforh.

Kotet, 'Hol^! holy I » . . • . . MBNDBi^Aomf.

Glee, four Toices,' By Ce!ia*8 arbour' • . • Horslbt.

Air, Mr. Hobbs, ' O come, let us worship ' • • Handbl.

Sistetto, ' Bj mutual 1ot« delighted,' {The Haunted T\noerO Storage.
Fantasia, Violoncello, Mr. Lindley .. • • • Dotzauxb.

Fart II.
Motet, 'O praise the Lord!' . . . • Mozart.

Glee, four Toices,* Wanton gales' . . . • Wbbbb.

Canzonet, Miss Hawes, * If music be the food of love.' . C lifton.

Madrigal 'No din of rolling drum.' • • • A.STRiaaio(1560).

Aria, Mr. Balfe, ' Madamina,' {Don Giovanni,) • • Mozart.

Glee, five voices, ' Now the bright morning star.* • . Rbv. R. Orbvillb.

Vintager's Chorus, « Shout, boys I ' (Tke SeaeonM.) . Haydn.

There is much melody running through Battishill's anthem,
though it was not performed in an effective manner. Callcott's
is a fine glee on the whole ; but he wais frequently entrapped by
the meaning of a single word, and his attention consequently
diverted from the general sentiment ; hence in this he has made
the ' ocean roar like the Dragon of Wantley.'

The recitative of Mozart's scena was thoroughly understood
and extremely well delivered by Mrs. Seguin, but the aria is far
beyond her means. Wilbye's madrigal, a charming work, was,
of course, encored. The gentle and lovely duet from Faust is
always gladly received, but Mr. Balfe's voice does not quite blend
with Mrs. Seguin's.

The motet, for a double choir, by Mendelssohn, with English
words well adapted to it by Mr. E. Taylor, was performed for the
first time, and, for a first time, remarkably well. It is simple,
devotional, free from all those fancies which mar so much sacred
music, and altogether exceedingly beautiful. It is evident from
this, that the composer's taste has not suflfered from having heard
and admired much of our old English cathedral music.

Horsley's chef-d'oeuvre was very well simg ; and Mr. Hobbs, in
'O come let us worship,' — a delicious solo in the Chandos anthem
'O come let us sing' — reminded us of Harrison, and amply com-
pensated us for his loss. We were delighted by the revival of
Storace's sestetto, sung, too, with so much animation. Many
thanks are due to the managers of the concert for a restoration
like this.

Mr. Lindley seldom has pleased more than in Dotzauer's Fan-
tasia : we mean by his playing. The composition, however, shows
good taste in the first movement,. and a gay imagination in the
second. Mozart's motet was another novelty and a masterly
work ; though, to our protestant ears, parts of it savoured too much
of what we must call levity.

One stanza of Webbe's glee would have been listened to with
^reat pleasure ; as a whole it is monotonous and much too long.
Its sameness became quite wearying. Mr. Balfe, in * Madamina,*
was excellent ; and the spirited prize-glee, by the late Rev. Robert
Greville, proved, as it always does, most effective.

CLASSICAL CHAMBER CONCERTS.

SECOND CONCERTi WBDNESDAT, FBBRUABT3.

PartI.

Quintet, in a minor, for two vio1ms,Tiola,violoneeUo,andeon-
tiB hoMo, Mestn. Bfori, Watts, Moialt, Lindtoy, and Drago-
nstti • • . • .• • Onslow.

Aria, Madlle. Bildstein, ' War ich scbon,* (FUeXo) . Butbotsii.

Quartet, in c, introducing ' Qod preserve the Emperor Francis '
for tvo Tiolins, viola, and Tioloneelloi Metan. Mori, Watti,
MoraH, and lAodlay • • • • • Hatdn.

Aria, Miss Clara Noyello,<Tum*aKandonbi' • • Spohr.

Trio, (first time of performaoee,) for violin, YioloneellOy and
.CQiitairlMiio^M«Mis.Mpxi,LinUej»aiul0ragonatti . Cobslu oad Hamdu*

Part It.

Septuor, in d minor, for piano-fortei flute, hautbois, horn, Tiola,
▼ioloncello, and oontra-basso, Madame Dulcken, Mesara.
Nicholson, Grattan Cooke, Piatt, Liodley, and Dragonetti. • Hummxu

Canzonet, Idx. Parry, Jun«, ' Sympathy ' • . • Hayon.

Grand Septet, for Tiolin, clarionet, bassoon, hom, yiola, Tiolon-
cello, and contrarbasso, Messrs. Mori, Willman, Bauman, Piatt,
Moralt, Lindley, and Dragonetti • • • • Brstboyxn.

Conductor — ^Signor Costa,

Onslow's quintet was charraingly executed. In the slow move-
ment, the power and skill of Dragonetti were most advantage-
ously displayed. Haydn's quartet, from opera 76, produced an
effect which we should have called marvellous, did we not feel
that it would have been marvellous had it not produced such
effect None, we believe, can listen to the slow movement, the
hymn, without emotion ; especially when so performed.

The two last movements of Corelli and Handel in union were
encored. The ancient music, it appars, is not quite defunct;
it has a knack at surviving many things that make a temporary
yt/rorc,— much that produces great noise, ' like a tale told by an
idiot ' — and will be listened to in ages to come.

The septuor of Hummel — which we are almost inclined to call
his chefaaeuvre — went off with great spirit and effect. But
Beethoven's septet proved the gem of the second act. Nothing
could be more perfect.

Madame Bildstein, an entire stranger to us, sings in a pure
style, and her intonation is faultless, a quality, and a roost im-
portant one, in which Germans are rarely deficient. Miss C.
Novello made the most of Sphor's song ; and Mr. Parry, jun.
showed his judgment in the selection of Haydn's very delicious
canzonet, which he sang delightfully.

THIRD CONCERT, WEDNESDAY, FEBRUARY 10.

Part I.

Quintet, in b flat, for two violins, two violu, and violoncello,
Messrs. Mori, Wattn, Moralt, Lyon, and Lindley • • Mozakt.

Scena, Miss Bruce, ' Dove sono,' (JLe Nozze di Figaro.) • Mozabt.

Grand Quartet, in F, Op. 59, for two violius, viola, and violon-
cello, Messrs. Mori, Watts, Moralt, and Lindley. • Bbbthotbn.

Aria, Mrs. Alfred Shaw, ' O salutaris Hostia ' • • • CusnuBiNi.

Part II.
Trio, two violoncellos, and oontra-baiso, Messrs. Lindley, Lavenn,

and Signor Dragonetti . • • • • Gorblli.

Cantata, SignorBegrez,' Adelaide '. • • • Beethovbk.

Grand Duet, two piano-fortes, MeMrs. Neate and Bennet,

* Hommage ft HandeL' > • • •. • Moschblbs.

Canzonet, Mrs. Alfred Shaw . • • • Haydn.

Double Quartet, No. 1, in d minor, for four violins, two violas,

violoncello, and contra-basso, Messrs. Mori, Watts, Musgrave,

N. Mori, jun., Moralt, Lyon, Lindley, and Dragonetti. Sfohb.

Conductor — Sir George Smart.

In Mozart's very charming quintet Mori showed the finest
taste and most correct judgment : and not less so his colleagues*
We cannot say less of the quartet of Beethoven ; the names of the
performers render eulogy superfluous. Corelli arain was greeted
by a loud encore. Some' of the favour with which the trio was
received is, we grant, to be placed to the account of Dragonetti^
but the composition itself was anything but 'caviare* to the au-
dience.

The duet for two piano-fortes, part of it written in the grand,
solid style of Handel, is a fit tribute of respect to the greatest
composer that ever lived. Such an offering will exalt ftfi". Mos-
cheles in the opinion of the musical world, both here and abroad;
for on the continent Handel is now as highly estimated as he has
been, during nearly a century, in this island, the country of his
adoption.

Of the vocal part of tliis concert we wish only to mention Che*
rubini's air, so exactly suited to Mrs. Shaw's voice, and so well
sung ; and the inspired canzonet, ' She never tcid her love,' to
which the same lady did the fullest justice.

So successful have these Chamber Concerts proved, that, before
our present Number shall appear, a second series will have com*
menced.

REVIEW.

AoNEs SoRBL, a Grand Operc^ performed at the St. James's Theatre,
written by G. A. a'Beckbtt, Esq., the Music composed by Mrs.
G. A. a'Beckett. (Mori and Lavenu.)

That a lady who, if we are correctly infonned, only studied music at
first as an accomplishment, should have been able to write an entite
opera, of a produceable kind, is not a little surprising ; but that her

THE MUSICAL LIBRARY.

knowledge and talent should have proved equal to the composition of a
work that was not only thought worthy to be brought out, but which
had a ran of many nights, is a remarkable drcumstance in musical his-
tory, and provefr two things,— Hhe extent to which the art is now cult!*
vated, even as one branch of female education ; and that the talent for
composing is not, as has been supposed, exclusively confined to one sex.

We will reverse the usual order, and first speak of Agnes Sorel as a
whole ; then take a view of its several parts.

Melody is the composer's aim and forte. Her harmony is correct,
and good, though neither deep nor al>ounding in traits absolutely new.
The words are set with judgment, so far as relates to their meaning; but
their accentuation is often very faulty indeed. The qpera is certainly
not inferior to many operas that have been successfully produced
in Italy by the followers of Rossini. It is in the style of these, and
though superior to some of them in point of originality, yet our gallan-
try has not blinded us to the fact, that newness of thought is not the
leading feature of Agnes Sorel : but there is much elegance in several of
the pieces, and aa a whole it is pleasing.

Overture. This is much in the manner of, and on a level with, most
modern Italian overtures. It consists of an adagio in c minor, fol-
lowed by a lively quick movement, in which the major and minor keys
alternate ; and it is very easy for the performer.

SoNCK * Triumph all my schemes attending.' A pretty, simple air, in
the waltz style. Between the last bar of page 4, and the first of next
page, is a progression which ought to have been avoided. The same
error appears in the fourth bar of page 5.

Duet, ^ Vainly to me of love you speak.' The diminutive should have
been added to the description of this. It is a short, easy Dusmno,
running in thirds and sixths in an agreeable manner.

Barcarolle, ' When day is going.' A pleasant trifle. In the sixth
and seventh bars of page 8, there must be some engraver's error : the
composer could never have Intended such strange accentuation.

SoNo, * Yes I if it's rightly understood.' A severe satire on diploma-
tists. The air is good, andjhe accompaniment well adapted to it ; but
* A prosing speech,' and ' If truth should be,' is an accentuation quite
unallowable. In both instances the first words should have been on the
last quavers of the preceding bars.

Song, ' To battle, is the cry.' We must confess that this is not quite
intelligible to us.. What is the time ? What do such emphases mean ?
f Recit., * Agnes to thee.*

I Air, ' War bids me hence away.' This is a spirited air in two move-
ments. It is an error to denominate the first a recitative.

Chorus, ' Let sounds of joy and mirth abound.' This is called a
Tyrolien, and is effective on the stage.

REcrr. and Cavatina, '*In camps abroad.' A long air, not a cava-
tina ; and we cannot say much in its commendation.

Duet, ' Hear me !' There are many clever points in this duet, par-
ticularly the modulation at the words * Seek in riper years for truth,'
which is bold and not common.

Chorus, 'Fill the sparkling glass !' a very effective bacchanalian, and
also loyal, chorus, which is generally encored at the theatre.

Trio, * He takes her hand.' A cleverly contrived dialogue, produc-
ing much stage as well as musical effect.

8ix SoNos, the poetry by the Hon. Mrs. Norton, Mrs. Hemans, Miss
A. M. Bbnett, the Rev. Townseno Selwyn, and Thomas Moore,
Esq. ; the music composed by Lord Charles Thynne. (Cramer,
Addison, and Co.)

It is now, we believe, universally agreed, that those whose wealth
renders a profession unnecessary, and who, therefore, have an abundance
of time to spare, do better to devote their leisure hours to a liberal art,
than to the gaming-table, or the society of blacklegs and grooms ; and
that the pencil or the piano-forte are much safer remedies for ennui
than the dice-box or the betting-stand. It is as necessary that r gentle*
man should give some portion of his day to amusement, as it is becoming
in him to devote the major part of it to graver pursuits, and we shall not
at the present hour be called upon to prove that mnsic is, at least, an
innocuous pleasure.

Lord Charles Thynne, in these songs, shows that he has not in vain
applied some of his time to the study of an art which contributes so
largely to the happiness of mankind. If he has not struck out from his
lyre melodies positively new, or harmonies never before dreamt of, he
had given musical utterance of a charming kind to some exceedingly
elegant poetry, and joined, in a very happy manner, those ^ harmonious
sisters, voice and verse.' We do not discover in any one of the six
Bongs a single objectionable point, eitlier in harmony, accent, or exprea*
sion : there is much in them to admire, nothing to censure, and we
heartily congratulate not only the noble composer, but the class to which
he belongs, on the ability — implying both aptitude and industry-—
exhibited in a fine art by one of their order.

The first song, <lt was a calm and sunny day,* is a simple melody,
exactly suited to the sentiment of th6 poetry, with an accompaniment of

a grave, solid kind, consisting of nothing bat chords, onbroken by an
arpeggio. The harmony of this will be very gratefiiil to the ears of
those who have judgment enough to admire the fine old Engiiih style.

The second, ' Where shall I find,' b also grave m character, as Mia
Hemans' verses, which are quite of a serioas kind, required h to bei
The whde is expressed with great propriety ; and a chord in the penul-
timate Uur, in which unexpectedly appears a minor third, ahowa the ]^
of a master.

The third, * Peace and glory y"* displays to advantage some stanzas by
our great living lyric poet, Moore. The air is plain, out melodious, and
— if we may use Uie expression — gently martial, exciting reminiscences^
of a faded hue, of glorious deeds of days gone by.

The fourth, ' Friends we loved, and hopes we cherish'd,' is another song
set to words of a strongly religious cast. The accompaniment is a series
of arpeggios, but by no means of a light kind. The words are expressed
in a most correct and pleasing manner.

The fifth, Son^ of the evil spirit of the woods ^ is in a more animated
style than any of the preceding, and not less-in unison with the poetry.

The sixth, * The green turf grows above thy gentle head,' is a melody
of great pathos, set to some, very touching verses by the Hon. Mrs, Nor-
ton. This finishes the volume, which we close with a hope soon to meet
again with a composer who, in every way, reflects great credit on the
art he cherishes.

Of the poetry we insert one specimen. It is the first song, by Miss
A. M. Benett, and bespeaks a mind firaught with tendemesa, firmness,
and constancy.

It was a calm and siumy day,

.An hour of tmUiog weatlMV,
Old Ocean's storms were far away

When we embark'd together.
And did I quit that shore with thes

For summer moments only,—
To leave thee on the stormy sea,

Deserted, lost, and londy ?

m tell thee of our mutual vow

While ocean smiled before us.
Oh ! do not bid me quit thee now,

While tempests gather o'er us.
Then let the au^^ waters chide,.

Our hearts will press the nearer ;
The darkest hour and stormiest tid0>

In danger all the dearer.

Las Platsirs du Jbuke Age, Nouvelles Recreations for the Pijlno-
FoaTB, on a selection of favourite Airs, by Frbobric Bubomulleil
Op. 13. Two Books. (Chappell.)

This is a collection of twelve of the most popular airs of the day, by
foreign composers, with brief, but pleasing and judicious additions; and
fingering is added to the second book. Why not to the first? And why
does M. Burgmuller put his own name to the well-known air of Bellini,
in // Pirata f The publication, however, is of a useful kind ; though
the price marked on it proves either that Uie compiler sets a high value
on his labours, or is willing to indulge the highly impolitic mercantile
propensities of teachers.

1. The Barcarolle, * Or che in Cielo,' sung by Signor Ivanof^ in
DonizettVs Marino Faliero, arranged as a Fantasia with Varia-
tions, by I. MoscHBLBS. (Mori and Lavenu.)

2. The Bolero, The Bridegroom's Return, *Ouvrezl Ouvrez !' amr
posed by Dbssauer, and suna by Mad, Slockhausen, arranged as
a Rondo, /or the Pianoforte^ oy I. Moschelbs. (Mori and Lavenu.)

The merit— and great it is— of the first of these pieces, belongs entirely
to Mr. Moacheles, for as to the subject itself, he could have invented a
much better with little trouble ; though we do not blame him for chusing
it, Ivanoff having, by his very pleasing manner of singing, given a
popularity to it, that rendered it an object for selection, but which il
would never have acquired without his assistance. It is here treated in
not only a very ingenious, but in a most original manner : the passages
are brilliant without being unreasonably difficult; the modulations are
bold and striking^ though not of the far-fetched and startlmg kind ; and
we conceive that this will never be performed in any company, however
mixed, without pleasing all who have an ear — ^however scanty their
knowledge— for musk.

The air of No. 2 — ^though certainly rendered more captivating by
Mad. Stoekhausen's naive and delicious style — ^possesses inherent good
qualities, Mr. Moscheles must, therefore^ be content to divide with
M. Dessauer the praise due to the piece in its present form. It is not
less charming than masterly. And one great recommendation both of
this and the preceding, is, that all tolerably good players roar undertake
either without, — what some inane pieces require — a month^a practioe;
and without fear of fiuling in execution, or hi gialifyisgeveij hyaCaiider.

THE MUSICAL LIBRARY;

]:• Bii.LiD, ' Deaf England ! (boa art mme again/ ike poetry by ihe
CouKTEBS OP Blessinqton, the music by M,W» Balfe, (Mori and
Lavenu.)

3. Ballad, ^They told me thou had*st slighted me/ the poetry by W.
H. Bellamy, E8q[., the music by M. W. Balfe. (Mod and Lavenu.)

No. 1 is a curious admixture of the Italian and English styles. Here are
leaps cUla Mercadante^ and grave arpeggioed accompaniment alf In-
giese; the latter having also a German tinge. The air is like a thou-
sand other things, without being actually indebted to any one : that is,
it is made up of phrases and cadences which are as much property in
common as the air we breathe. But, considered as a whole, the baliad
k pleasing. The composer has studied the spnrit of the poetry, paid due
attention to accentuation, and proved that no vulvar pen has set. notes to
Lady Blessington's verses,, the sentiment of which, as well as the manner
of expressing it, are very honourable to her ladyship's feelings and
taste.

The melody of No. 2 is rhythmical and agreeable, without having any
very distinctive quality : but a part of the accompaniment shows a bold
mind, one that fearlessly departs from the beaten track, and the effect is
in proportion to the independence of the composer.

Three Aibs oe Ballet /rom HalevVs Opera^ La Juive, arranged for
the Piano^foriey by J. Herz. (Mori and Lavenu ; and Cramer and
Co.)

No. I, Vake.

No. 2, Divertissement.

No. S, Marche des Chevaliers.

It is said that it is not just to form a decided opinion of Halevy's Juive
from the performance of parts of it at Drury Lane theatre. It cer-
tainly did not there appear to us to possess any very distinguishing
qualities, with the exception of the waltz and march here adapted.
M. Hens is certainly coming to years of musical discretion. We have
on more than one occasion, within the last twelvemonths, observed his
bias towards good sense, and the present publications confirm us in a
belief that he has seen his error in publishing what few can ever attempt
to play, and still fewer ever listen to, except out of politeness to the per-
former.

These three pieces are calculated for general use, but are by no means
unworthy the notice of the most adroit amateurs. They are showy
though not difficult, and gay without being trivial.

Musard's 1st Set of QuAnaiLLES, from La Juive, arranged for the
Piano 'forte^ toith accompaniment of Flute. (Mori and Lavenu;
and Cramer and Co.)

Do. 2nd Set do.

Do. Srd Set do.

These quadrilles contain, we presume, nearly all the airs m the opera,
some of them very pretty, and the whole arranged so as to afford every
sort of facility to the performers, both on the piano-forte and flute. To
each book is added a waltz, not mentioned m the title pages ; that in the
first is a very agreeable composition.

Oage d^Amitii^ Three Grand Waltzes /or the Piano-forte^ composed
by William Garrigk. (Aldridge.)

Three able compositions, and as pleasing as clever. But the epithet
* grand' is only applied to waltzes of an extended length ; to those, like
the present, of a brief kind, the term is somewhat magniloauent. This,
nevertheless, does not diminish their intrinsic merit ; and the moderate
price set on them is a proof of the author's discretion.

First Set of Quadrilles, from The Siege of Rochelle, arranged for
the Piano-forte by John Wsippert. (Cramer, Addison, andBeale.)

Some of the best airs in the opera, arranged in an easy maimer for the
piano-forte.

FOREIGN MUSICAL REPORT.

DRESDEN.
M. Rastrelli's opera. Bertha ofBretagne, has been acted several times
with applause. The composer, from his earliest youth, has lived in this
town, where he became acquainted with the German masters ; he subse-

Suently went to luly, there most industriously studied for three years, un-
er Mattel at Bologna, then returned home again, and has for many years
filled the very arduous and useful office of musical director at the Royal
Opera-house, and in the church, both with the greatest success. He is,

as the French say, un enfant de la pique ; he has grown up under musical
arms. The drama is by a poetess resident here, and much resembles (it
is said without the .knowledge of the authoress) EUsena, .and the Her*
mannstadt Wood. The situations are not unmusical, though hacknied ;
the verse is lyrkal, not rugged, but somewhat insipid. Of a very dif-
ferent order is Rastrelli's music. It is new (in some parts truly original),
powerful, clear, and replete witb charming subjects. The author haa
consulted the taste of the age by making a noise, and composing ballet-
tunes, but he does ail this sort of thing with judgment, in its right
place, and thus produces a right effect. What is most commendable ia
the composer, and cannot be sufficiently lauded, is his fine talent for
melody, which shines through every part, and which most happily unites
Italian sweetness with German force and solidity. The concerted pieoea,
e, g. the robber- chorus and the quartet in the first act, are very happy,
and if M. Rastrelli is fortunate enough to get a libretto truly poeticsJ,
he will doubtless give us some excellent music, as he has both the will
and the power.

On the 7th of November, a grand vocal and instrumental concert;
accompanied by the royal band, and under the direction of M. Ras-
trelli, was given at the Hotel de Pologne, by Mad. Friedrichs, formerly
Madlle. Hoist. The first part began with an overture from one of
Rastrelli's earlier operas — ^lively and original. Then came an aria by
Donizetti, sung by Madlle. Veliheim. Donizetti's style is well known,
as well as that of the accomplished songstress. A grand fantasia for
the harp, with orchestral accompaniment by Bochsa, played by Mad*
Friedrichs. We could see very little of the fantasia in this composition. .
Far more apt is its English title, Reminiscences of England^ for it is in
fact nothing more than a pot-pourri of English. national airs, which, ift
their proper place, are doubtless highly interesting. However, we Ger^
mans could not have our sympathies much excited by a stale English
grenadier march. Mad. Friedrichs' play is in every respect excellent.
Her passages are beautifully turned, and roll along like so many pearls,
while her shake, considering it is on the harp, is admirable. We have
heard nothing equal to her ; and in addition to these advanti^es, she
IS a very pretty, modest, and amiable young person. May she let us
hear something, occasionally, not by Bochsa ! An adagio and polacca
for the clarionet composed by Kummer, played by M. Kotte: — ex-
cellent ; and when is tnis player otherwise ? A quartet with harp ac-
companiment from Rossini's opera, Moses : — already known. It was
well performed, but produces more effect in the theatre.

Second part. A Nocturne en Trio for the harp, clarionet, and violin,
played by Mad. Friedrichs, MM. Kotte and Hase. Mad. Friedrichs and
her accompaniers played to perfection. A duet by Rastrelli, sung by
MM. Babnigg and Schuster. A concertante for two violins by Spohr,
played by MM. Franz and Joh^inn Poland (brothers), Tliis performance
deserves especial mention, as it was certainly one of the most brilliant
features of the whole concert, and some peculiar matters are connected
with it. The two young men are sons of the celebrated violin-player of
our royal chapel, for whom C. M. von Weber composed the aria with viola
obligato in Der Frieschutz. The eldest has completed his legal studies^
and is now a notary public ; the youngest will, we hope, remain devoted
to music. When one reflects that the concertante was composed by
Spohr for himself and the celebrated MQller of Brumswick, one eaa
easily imagine it to be a very SpohmA bit of bravura. It was played by
the two young men in a manner which in the highest degree redounds to
their honor; their intonation was silvery, their execution brilliamt^
tasteful, and expressive. We congratulate the father for possessing
two such sons. This was followed by Reminiscences of Scotland on
the harp by Mad. Friedrichs : Excellently played indeed, but taujours
Bochsa^ rien que Bochsa.

LEIPZIG.

We will begin with our head-quarters for music, our subscription cofr-
oerts, which have been extremely well attended this season. They have
been under the direction of M. F. Mendelssohn Bartholdy, who has ex^
cited a tremendous enthusiasm in our city. We think it no more than
just to give a short sketch of the concert in detail. Thus we shall
neither say too much nor too little, since every one may compare these
accounts with those we have given of former concerts*.

The third concert, which took place on the 22nd of October, gave us an
opportunity of hearing C. M. Weber's overture to The RfUer of the
^iriis; after which Madlle. Weinhold sung withapplause the recit..and
aria ' Crudele P from Don Juan. M. Ulrich played a concerto by Louis
Maurer on Uie violin, and met with the liveliest approbation, which was
indeed due. Madlles. Grabau and Weinhold sung with applause the
celebrated duet from Mathilde von Shabran. In the second part we
heard with the greatest interest Beethoven's fantastic symphony in a
minor very successfully played.

* The fourth concert, on the 29th of October, opened with Onslow's
first symphony in a major, which on account of its quartet style has
peculiar difficulties. Then M. Mendelssohn Bartholdy played one of his
concertos on the piano, after having been received, on his entrance, with
the liveliest tokens of applause, which grew stronger at the end of every

* Vide pag« 22> fiirthe first and second of these concerts. — Editob.

THE MUSICAL LIBRARY.

ihovement, as an acknowledgment of his mighty talents. The second
part be^n with Weber's overture to Euryanthe^ which was followed by
a cavatina, duet, and finale from the same opera. M. Weiske sang
the bass right sonorously.

On the 5th of November, we had the pleasure of hearing Haydn's
Symphony, No. 4. We earnestly hope that more such works of this
fine old composer will be made public. Certainly room might be found
for two per annum. Then M. Wild, who was received with applause,
Bung Mosart's splendid aria, ^Consianze, Dick wieder zu seknf (Con-
stance, again to see thee !), and, afler the overture to Cherubini's Water-
carrier^ JBeethoven's Adelaide ; he met with the greatest approbation.
The concert concluded with the finale from Bellini's Capuleti e Mart'
iecchif ^Qual tumtUto,* wherein M. Wild was so kind as considerably to
decorate his part of Tebaldo.

On the 12th of November, Gluck's 'overture to Iphigenia in Aulis
opened the concert Madlle. Weinhold sung Paer's ' Su Griselda,
doraggio P with violin obligato. Then M. Grenser played, in excellent
style, a beautiful flute-concerto by Tulou ; he is an able flutist, with
good tone and great skill. The chorus and finale, from Mozart's Tito,
Concluded the first part, and the second, to the delight of all, was fully
occupied by Beethoven's Eroica.

At the seventh concert (on the 26th November), we had Ries's second
symphony ; after which, Mad. Grabau excellently, and with applause,
sung an aria from Mozart's TVto, with bassoon obligato. That a well
known, much esteemed artiste^ we mean M. Kalliwoda, was, at his
entrance received by the assembly with loud manifestations of joy,
showed a faithful adherence to yalnabie men, which ought not to be
passed over in silence. His new concertino for the violin, and his
performance of it, gained him repeated applause. We would willingly
nave kept him here to fill the place of our deceased Matthni, but
from his attachment to the princely house (he is kapellmeister to the
Prince Von Fiirstenberg), he will not leave his present situation, which
is, certainly, a very delightful one. His new MS. overture also told
well. After this, our wind-instrument players greatly distinguished
(faemselves in the march, adagio, and variations from Spohr's nottumo,
and truly for an assemblage of wind-instruments alone to acquit them*
selves well is a great rarity. The concluding chorus from Spohr*s
Zemire und Azor produced its due effect.

On the 8rd of December, our eighth concert was adorned by M.
Mendelssohn Bartholdy's overture to the legend of the Fair Melusina^
and which was received with the liveliest applause. This overture,
though older than the others we have mentioned, was heard by us, for
the first time, at an extra concert, and it then gave such satisfaction,
that its repetition was desired. Madlle. Weinhold's singing of Weber's
scena and aria, * Misera me' told well. M. Queiser proved himself
a masterly artiste ^ by the performance on the bassoon, of an exceed-
ingly diflicult concertino by C. G. Miiller, the director of our Euterpe*^
and earned the most hearty approbation. Beethoven's Meeressiille und
glOchlicke Fahrt (Calm Sea and Prosperous Voyage) was well sung, and
produced its accustomed effect. So also did the same composer's second
symphony in n major, which was excellently played.

Our Euterpe^ under the direction of C. G. Mailer, has made the
happiest progress. Its assemblies this season (which, by the way, are
very well attended), are held at the Hotel Ide Pologne, on Monday
evenings. Often has the crowd of auditors been so great, that we have
been unable to effect an entrance. What we did hear, was exceedingly
well performed. Among other things, we heard a very good and well-
elaborated overture (MS.) by G. Wichtl, which seemed a work of great
promise. Symphonies by Mozart, Beethoven, and Spohr, and the lat-
ter's Weihe der Tone (consecration of tones), were played with great
success.

TheThomaner-chorus has afforded us the pleasure of hearing, in the
Academy-hall, Handel's oratorio Joshua. If the students deserve
praise, generally speaking, for their endeavours to produce yearly some-
thing of this kind ; so do they, most especially, for the very apt organi*
zation of their noble chorus. Public quartets have alone sunk to rest,
by the death of our Matth&i ; everything else is flourishing.

Madlle. Francilla Pixis, adoped daughter of the long-celebrated
M. J. P. Pixis, delighted us, on the 16th of November, by a concert in
the Cloth-hall. In this M. Pixis gave us the opportunity of hearing
an overture by Mendelssohn Bartholdy, as well as one of his own, and
then he played his celebrated concerto (the one printed at Haslinger's,
Vienna) in the ordinary quick time, and with multifarious ornaments,
and thereby acquired great applause, as well as by his Fantasie Miliiaire,

* The name of a muaical lociety.— Editor.

The young lady so delighted the assembly as almost to create a futoren
Her voice, which has the nature of an alto, and in compass borders on
the high soprano, jpossesses a youthful beauty, and has gained much on
the score of flexibility. Her style is rather the French theatrical thaa
the German. Her very impassioned singing is rendered so impressive
by her almost dramatic gestures, that her appearance will always be
highly welcome to the public. Most beautifully did she sing the scena
and aria from the Donna del Logo, On the other hand, the Italian
romance by Dessauer, which followed, was given rather too strongly
both in voice and gesture. Far more successfully, and indeed quite
victoriously, did she sing the following :^a cavatina, by Donizetti;
Le reiour des promiSf a bolero, by Dessauer, in the French language,
which she pronounces excellently ; and a Baden song, with variations
by Pixis. At the theatre she sung twice. Her chief part was Bellini's
Homeo, which she acted to a crowded house. The most brilliant con-
cert was given at the Cloth-hall, on the 7th of December^ There she
was most ably supported by that very disting^shed master of the guitar«
M. Stoll, from Vienna. Although the day had been a portentous one
for him, as his father-in-law, who had accompanied him and his wife on
their journey, was suddenly snatched from this life, yet, that the concert
might not be interrupted, he played the first movement of one of
Giuliani's concertos, and a composition of his own, with so much skill
and neatness, with so much expression (a rare thing on the guitar), that
every one must pronounce him as one of the first masters of Ids instru-
ment. During his performance, his quiet melancholy was remarkably
touching. Mozart's overture to Tito, and Boieldieu's to John ofParis^
were both excellently played. Madlle. Pixis sung the cavatina and the
grand concluding scena from Bellini's Sonnamhula; then an Evening
Hymn to the Virgin, composed by C. Banch (for the first time) ; an£
finally, the favourite French romance. Rataplan^ and the English
nautical song by Mad. Malibran*, wherein she gained the most tumult
tuous applause. She left us the following day, in the full conviction
that, wherever she may go, she will meet with the favour of the
public.

On the 9th of November, Madlle. Clara Wieck gave an extra concert,
in which an overture by Beethoven was played, and M« G. Nauenburg
sung two pieces, the first from Rossini's Wilhelm Tell, the second from
Mozart's Figaro. The young lady played a concerto of her own com-
position, and Mendelssohn-Bartholdy's Capricdo Brillante. In the
second part we had Seb. Bach's concerto in n minor, for three pianos,
which was played by MM. Mendelssohn Bartholdy and Rakemann,
and the fair giver of the concert, with a quartet-accomnaniment. Then
we had grand variations on the chorus of Greeks in tne Siege of Co*
rinth, a piece of bravura which, in point of skill and precision, took a
high place among the solo movements.

At the concert for the benefit of the institution for sick and aged
musicians, on the 2Srd of November, was played Kalliwoda's fourth
symphony, with the greatest applause. Madlle. Henriette Grabau sang
Romberg's beautiful composition to Schiller's Sehnsucht (desire),
and met with her accustomed success. Then Madlle. Charlotte Fink,
who was educated by her mother, played Field's concerto in a major,
and received great applause. The overture to the Fair Melusina^
composed by Mendelssohn Bartholdy, was heard with enthusiasm.
M. Kalliwoda then played on the violin some variations of his own, to
the delight of all present; and the evening concluded with Beethoven's
march, with the^cnorus of* Schmucket die Halle' (Adorn the Halls).

TO READERS AND CORRESPONDENTS.

SedetiMtieal CkoirM in oar nert.

A Basingstoke correspondent is very wrath at us forlinseitin^ any mosic for
more than two voices : — A Liverpool subscriber complains, bitterly, that we give too
many single airs, and too few glees« and other pieces in parts ; while both Sireatea
to discontinue our work unless we attend to their admonition, and reform our
system. Now, as we do not exactly see how we can please the two, we think it the
safest method to proceed as we began. We must, howerer, beg leave to hint to
both parties, that those who dislike glees, &&, have always three single songs at
least ; and that such as have no taste for songs, are invariably put in poesessioa
of three, or more, duets, glees, or pieces in j^s. We must likewise add, that
the price of the whole part is just equal to what is charged by music-dealers
for one amglemmg; and that, supposing only three pieces in each part to have any
value, such compositions are worth to the nurchaser, according to the usual prices,
at least three times as much as he gives for the whole contents,— the forty pagea
—of a part of the Musical Library.

Qwiy, TbSBeaP—EniTOB,

LONDON: CHARLES KNIGHT, 22, LI7D6ATB STREET.

PaimriD sr Wt CLOWES ams SONS, Dun Srami LunirB,

MUSICAIi lilBRARY.

MnntUu Supplement.

No. XXV. APRIL, 1836. Price Sixpence.

The Music of 'Part XX V/ 61

Ecclesiastical Choirs of Great Britain and

Ireland 63

The Siege of Rochelle 63

What is the meaning of the word * Classical'

in a musical sense P ••••... 64

CONTENTS.

Psge

Prologue 65

A Subscriber on the Philharmonic Concerts • 65

Nccrolo»ry 65

Ancient Concerts e6 '

Philharmonic Concerts .••••• 67

Vocal Society ••• 63

Classical Chamber Concerts • • • • • 69

Quartet Concerts ........TO

Hoy al Academy of Music . ..... 70

Foreign Musical Report .•••.. 70
Drama •••72

THE MUSIC OF PART XXV.

Thkme, ' OoU erhaUe Franz, den Kaiser! ' with Variations —

(Page 101).

The adagio of Haydn's third violin quartet, op. 76, arranged for
the piano-forte. In adapting this lovely air and exquisite har-
mony to a keyed instrument, it was obviously necessary to give
to the base the violin notes of the second part of the first varia-
tion. As the two parts are written in the quartet, they can only
be played on two different instruments. The manner in which
the present movement has been received this season at the Phil-
harmonic, and also the quartet concerts, shows the uuabating — or
rather the increasing — taste for music of so high an order.

Introductiun and Theme, with Variations — (Page 104).

The subject of this is from Bellini's opera seria, / Montecchi
e Capuleti ; the Introduction and Variations by Theodore
DoHLER, a new composer in Germany, concerning whom we are
only able to state, that he is in the Vienna copy, whence this is
printed, designated as ' Pianiste de S. A. K. Charles- Louis,
Infant d'Espagne.'

Opening and Finale of Mozart's 4th Symphony — (Page

110).

Mozart composed three symphonies in the key of c, from one of
which, the op. 34, these movements are taken. We have given
the time of the Finale adopted by the Philharmonic Society ; but
its effect, when played on the piano-forte, will not be injured by
taking it rather less quick.

Symphony, Macbeth — (Page 120).

The Introduction to the music in Macbeth, composed by Mat-
thew Locke. (See vol. i., page 50).

Terzettino — (Page 101).

Orombello.

Angiol di pace, all' anima
La voce tua mi Buona ;
Segui, o pietoso, e inspirami
Virtil di perdonar.

Egli perdona !

Con quello perdono, o misera !
Ricevi il mio perdouo ;
Saiga con queste Ingrime
A un Dio di pace e amor.

Ah I la virtil di vivere
Da te riccvo in done ;
Vivi6, vivi6 per piangere
Finch^ 81 spezza il cor.

From the serious opera, Beatrice di Tenia, act ii., sc. xi. ; com-
posed by Beluni. .

Cayatina — (Page 104). ,

Agnese.
Beatrice.

Agnese.

Vol. hi.

Piii blanca di giglio,
Pi^ fmca di rosa,

Bell' occhio, bel ciglio.

Vivace, generona.
La mano a un villano

LaLilladarii?—
Alnien crude tttelle,
Non fossi chi aono—
Ma val pill d' un trono '

Si rara belUk.

Prom the comic opera. La Cosa rara, composed by Vincenzo
Martini (see page 2), and first performed at Vienna in 178&
Five years later* it was produced at Drury Lane Theatre, —
altered by James Cobb, and with some musical additions, by
Stephen Storace — under the title of The Siege of Belgrade, in
which the above cavatina was, and still continues to be, sung to
the following not very commendable verses.

The rose and the lily, their beauties combining,

Delight in adorning a form so divine :
Such fharms to a peasant consigning.

All ! must I resign ?
Forbid it, ye ])Ower8! to love *ti& a treason ;
Ambition, assuming the semblance of reason,

Commands me with scorn the mean thought to decline.

Song— (Page 106).

The sapling oak lost in the dell,

Where tangled brakes its beauties spoil,
And every infant shoot repel.

Droops hopeless o*er th' exhausted soil.
At length the woodman clears around

Where'er the noxious thickets spread,
And, high reviving o'er the ground,

Tlie forest's monarch lifts his head.

A song composed, and introduced into The Siege of Belgrade, by
Stephen Storage. (See vol. i., page 6.) It was written for
Sedgwick, who possessed a fine base voice, of great compass, and
this, aided by a manly person, gave him a rank as a performer
which his knowledge of music and his style would not, unassbted,
have gained for him.

Glee— (Page 109).

Phittida and Corydon.

In the merry month of May,
In a morn by break of day,
Forth I walk'd by the wood side.
When as May was in his pride :
There I spied, all alone,
Phiilida and Corydon.
Much ado there was, God wot ;
He would love, and she would not
She said, never man was true :
He said, none was false to you.
He said, he had lov'd her long :
She said, love should have no wrong.
Corydon would kiss her then.
She said, maids must kiss no men.

* At page 2, we have erroDeouvly gtated that the Engliih venion of thia l ^
wai^iroduced in 1796. Aceording to the Bioffropkia Dramatiaa it was fiist InvaM
out in 1791, mad levived ia 1796, . .. ^^

THE MUSICAL LIBRARY.

Till they do for ffood and all.
Then sbft nuule IM ftbepberd call
AH the heavens }o wiinete tmlh^
That never lov^ a tniar youik
Then with many a pretty oath.
Yea and nay, and faith and troth.
Such a9 silly shepherds use
"When they will not love abuse,-—
Love, which had been long deluded,
Was with kisses sweet concluded ;
And Phillida with garlanda gay
Was crown'd the Lady of the May.

From England's Helicon, an ancient miscellany printed in 4lo.
in 1600. The author was

NICHOLAS BRETON,

a writer of considerable fame in the reign of Elizabeth, respect-
fully alluded to by his literary contemporaries. Ellis, in his
Specimens of early English Poets, soeaks of him as ' a poet of
wnoee life no anecdotes remain,* unless he be pointed out in
Sxidge's ]S*QTthimptomhire, where it is stated, that a person of
this name, son to Captain John Breton of Tamworth, in Stafford-
shire, after serving in the Low Countries, under Dudley, Earl of
Leicester, retired to an estate at Norton, in Northamptonshire,
where he died in 1624. Breton was probably born about 1555,
because his second production, Tke Works of a young Wit, was
published in 1577.

The music, which gained a gold medal from the Catch-Club in
1773, is the composition of

BENJAMIN COOKE, MUS. D.*

'^ Dr. Cooke was the son of Benjamin Cooke, a music-seller in
New Street, Covent Garden. He lost bis father at the early age
of nine years ; but previously to that event he had been placed
under the instruction of Dr. Pepusch, and made so rapid a pro-
gress, that when only twelve years old he was competent to the
duty of deputy-organist of Westminster Abbey, under Mr.
Robinson, son-in-law and successor to Dr. Croft.

'In 1757, Mr. Cooke succeeded Bernard Gates as Lay-Clerk
and master of the boys in Westminster Abbey ; and in 1762 was
appointed organist of that collegiate church. In 1777, the Uni-
versity of Cambridge bestowed on him the degree of doctor in
music. In 1782, after a severe contest, in which his principal
opponent was Dr. Burney, he was elected organist of St. Martin's-
in-the-Fields. In 1784, he was nominated by George III. as one
of the sub-directors of the famous Commemoration of Handel.
On the death of his master, Pepusch, in 1752, he undertook the
office of conductor of Tke Academy of Ancient MusuT, from which
he retired in 1789, and was succeeded by Dr. Arnold. He died
in 1793, of an attack on the lungs, which brought to a close a life
of unsullied integrity and virtue.

' Dr. Cooke was married in 1768 to Miss Jackson, one of his
scholars, a lady possessed of very considerable accomplishments,
and left two sons-^Henry, some time in the Post-office, and
Robert, an excellent musician, who, on the death of Dr. Arnold,
became organist of Westminster Abbey, but died prematurely, in
a morbid state of mind.*

The compositions of this great master are numerous: many are
unprinted and dispersed ; it is feared that some are even lost.
Of his published works, his glees are best known, and never will
be forgotten. But the names of those who studied music under
him are alone sufficient to transmit his name to posterity. Among
these maybe mentioned Sir William Parsons, Greatorex, Crosdilt
Knyvett, sen., Bartleman, Spofforth, Walmisley, Beale, &c. And
in addition to these, the following were educated in the choir,
under Dr. Cooke, but did not pursue the profession of music :—
the Rev. Dr. Drury, master of Harrow ; the Rev. G. P. Marriot,
prebendary of York ; E. G. Walmisley, Esq., late clerk in the
House of Lords; A. W. Callcott, Esq. R. A., (brother of Dr.
Callcott,) and many others.

Aria— (Page 116).

^The Letter of Flowers.
To yonder lovely maiden*

Th^se flowfreta now I sendlf .
To say my toui is laden,

Bid her my sonowa end, ^

* Eitnictiid Dtom a Menoiz in Tbb HAaMOKio^m, VoL uu pftg* 297^

noa Rose, so freshly blowiiig»

Tali how myhQiom huma;
Tall how my tears are Sowings

My heart how deep it^BioiuiM.

Thou Myrtle, whisper lightly
' My hopes — how sweet they be !

t That never star bo brightly

Shone o'er my path as she !

' Despair is fearful anguish*'

Thout Marigold, shalt say,
* Without her I shall languish.

And in the grave decay.'

Freely translated by John Oxenford, Esq., from the 'annexe*
verses of Alots Schreiber, a living writer of some eminence, and
editor of the annual called The Cornelia.

Der Blumenbrief.

Euch BlQmlein will ich senden,

Zur schOneii Jungfrau dort^
Fleht sie, mein Leid zu endeiiy

Mit einen guten Wort.

Du Rose kannst ihr sagen

Wie ich in Lieb' ergltih',
Wie ich um sie mus klagen

Und weinen sp&t und friih.

Da Myrthe, fiiistre leise

Ihr meine Hoffsung su;
Sag', auf des Lebens Reise

GlUnzt ihm kein Stern als du.

Du Ringleblttme deute

Ihr der Verzweiflung Schmera,
Sag ihr, Des Grabes Beute,

Wird ohne dich sein Herz,

The music is a posthumous work of

FRANZ SCHUBERT,

a German composer of vast genius, who died about four years-
since, when he nad scarcely attained his thirty-third year 1 His
works are just beginning to be known in tnis country; those
which we have seen exhibit an originality of conception and depth
of feeling that, had he lived, must have raised him to great
eminence. He wrote vocal music chiefly, we belieye, but twa
pieces for the piano-forte in our ]K>ssession are worthy of being
ranked with the best compositions extant for that instrument.
At present, such is all the information we have obtained coDcem*
ing an artist whose works promised so brilliant a career.

DuBT— (Page 118).

Hark ! the neighbouring convent's bell

Tolls, the vesper-hour to tell. ^

The clock now chimes: a thousand times farewaiR

Prom The Padlock, written by Isaac Bickerbtapf; composed by
Charles Dibdin.

This original and sensible composer was bom at Southampton in.
1745. His mother had attained her fiftieth year at his birth, and
he was her eighteenth child ! He was educated at Winchester,
for the clerical profession, but his love of music predominated,
^nd he received his first instructioiis from Mr. Fussel, orgamst or
Winchester Cathedral. At the age of fifteen he went to London,,
and at sixteen produced an operetta in tw*o acts, at Covent Garden
theatre, under the title of The Shepherds Artifice. As an actor
he first appeared as Damoetfu, in Midas, and was the original
Mungo, in The Padlock, as well as Ralph, in The Maid cf the-
Mill. In 1778 he became composer to Covent* Garden theatre,,
at a salary of 10/. a week. About 1782 he built the Circus
(now the Surrey) theatre, which he managed four yetfB. • Ja
1787 was published his Musical Tour, in one vol. 4to. In 1788
he produced, at Hutchin's auction-room, iji King-street, Covent
Garden, the first of those entertainments which originated with,
him, under the title of The Whim of ths Moment In this wm
die ballad * Poor Jack,' of which 17,000 copi^ mare finaUgr
sold*

* Bibdin pablbhed twelve tonga from this entertMimi«ot| induding * Poor Jack^
Ipit he layt, in his Lift, * ai the muiic-thof)s diMourai^tfd tlieir Mae, and in a maik-
atr evtn wamed me again«t the cou^equepcai af jataiaiog any property at my ova

THE MUSICAL LIBRARY.

<»

Mr. Dibdih, encduraged by his sucfeess^ it 1791 fitted up a
toom in the Strand^ oppoaite Beaufort Buildings^ which he called
JSana Souci, and opened it with an entertainment entitled Private
Theatricals. In 1796 he built himself a small theatre in Lei-
eester-plaee, the first performance in which was The General
Election, containing sixteen songs. Here he continued his own
unaided exertions, with varied success, till he retired in 1805,
when he disposed of his stock, copyrights, &c., to Bland and
Waller, for the sum of 1800/.

In 1803, a pension of 2001. was granted Mr. Dibdinby govern-
ment, of which he was deprived by Lord Grenville, when he came
into office ! but it was, we believe, restored, on the change of
ministry. In 1810, at a public dinner, 640/. was subscribed to
purchase him an annuity, the promoters of which laudable mea-
i»ure were Benjamin Oakley, Esq., of Tavistock- place, and James
Perry, Esq., proprietor of the Morning Chronicle.

Mr. Dibdin died in 1814. On a slab, placed by his wife
and daughter over his remains, in St. Martin's burying-ground,
Camden-town, appear the following lines, from his own song,
^ Poor Tom Bowlings or^, The Sailor's Epitaph- : —

His form was of the manliest beauty,

His heart was kind and soft ;
Faithful below he did his duty,

And now he*s gone aloft !

THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN
AND IRELAND.

[Continued from page 43.]

No. V.~YORK.

The information we have heen able to obtain relative to the mu-
sical establishment of York Cathedral has been very scanty.
Perhaps the disproportion between the emoluments of the digni-
taries — nay« even of the organist — and the lay-clerk^, or singing-
-men, may render it convenient to throw a veil over the salaries^ or
more properly, wages — for menial servants are commonly better
paid — of those who are the most efficient members of the churchy
•on whom the most constant and onerous duties fall.

The really learned, humane, and indefatigable lady, whose in-
•qutries into the state of our choirs'*' has led to the amelioration of
more than one of them, seems to have encountered as many diffi-
-oulties as ourselves, in gaining a knowledge of the state of the
York choir, and has been, apparently, obliged to remain content
^ith four brief extracts from the Lwer Statutorum, taken from
the MSS. of Dr. W. Bancroft, Dean of York.

From WilUs's Surv^ of Cathedrals (1727) we learn that the
•establishment of this Cathedral consisted, when he published his
work; of -r

A Dean,

A Precentor,

A Chancellor,

4 Archdeacons,
28 Prebendaries,
1 Sub-Chanter,

5 Vicars-Choral (in Priests* orders),
7 Lay-Clerks, or singing-men, and

6 Choristers, (Boys.)

One of these lay-clerkp officiates, we conclude, as organist f, there
being now but six persons doing the. vocal duties of the church,
«8 appears finom the following statement, which we have obtained
fiou a private source.

I btgaHf M uraal, to feel ibeir power, and my own incapacity to ttran^le against

it Notwithttanding its celebrity, I could do nutbing witb <' I^or Jack :''

at bad BO sale, try all I could, I therefore sold it, witb eleven otber aongs, for sixty

SeSNolT bad I parted witb it a fortnigbt, wban it beean to spread itself
iiU over tba kingdom ) and I bave no doubt tbat it cleared tbe purcnaser, Mr. Preston,
five bundred pounds.' • • • • • • ' The Waiemum, wbich certainly cleared tbe

pdblirfier two bundiod pounds, I was compelled to sell far twogumeoM : and ** Notbing
UM pog '* yialdod mtf ao more tban haff^thguiiua,* Mr. Dibdin now took tbe sale
of )u« mueie nsain into hia own bands, and gained by 7%c Qrmmnkh FmnoMtr
niore tban fntr mmdrtd pounds !

* This lady printed, in 1827, in 4to.» A Bri^Aeewmt of Cathedral md Cottegiaie
Sekoaitf wHk an ah O r M t o/ their Siatutes and Badowmenh, Stc Tbe autbor 's object
was not tuam, but to do good, ber work tberefore was not publisbed, but only pri-
vatttly distributed among Siose who were likely to forward ber benevolent views.

f Bdch is the prsctice fX 9t. PanPs Cathedral, where no such officer as organist is
n^>gnised. In uct, before the Reformation the duty of organist was. eiciecuted by
the priests in lotatton, ail having been educated for tbe purpose.

Musical establishment of York Cathedral, with the salaries, as
fixed in 1836; * )

An Organist, (Mr. John Camidge) 200/. per annuncL
Assistant Organist, (Dr. Camidge) 100^. ditto.
6 Lay-Clerks ... . each 45U - ditto.
8 Choristers (boys), two at 14Z. per annum, two at 12/., and
four at 8/. ' i

There are four superannuated Lay-Clerks, %ho attend on
Sundays only, and have a retiring pension of 20/. There are
also three supernumerary Lay-Clerks, added on account of the
great power of the new organ, whose salary is 81. per annum !

The lands belonging to the Vicars-Choral were valued, 2CI
Hen. VIIL, Anno 1534, at 156/. 5». 3d.* Their real valuer
however, at that time, may fairly be stated to have been 200/, at
least. This would be equal to about 1600/. of our present money.
But besides these, they enjoy in their own right thriee impropri-
ated rectories and advowsons, out of which they contribute to thij
pay of the Lay-Clerks.

* The Precentor,' says Willis, ' is commonlv called the Cant(fr,
or CkauntoTj of the church. His pffice is to look after the Sin^»
ing-men and Choristers, and take care of the singing service m
the choir, where he has next place after the Dean, and is, by the
Dean's directions, to manage and take care of the instalments
and other regulations of the choir ; to put out and in the singing-
men, and determine disputes between them. He has under him
a Succentor, or Sub-chantor, whose duty is to supply his office in
his absence.'

Before the Reformation, we learn from the same authority,
there were, besides the Vicars-choral, several Chantry- Priests, whd
attended the cathedral service. Their revenues were rated, in
1584, at 139Z. 19». 2d. Call this ISO/., equal' in present value ta
1440/, Hence it will appear, that before the Reformation the
choir of this Cathedral — as well indeed as all other English Ca«*
thedrals— *was numerously filled, and adequately paid ; whereas
now the singers, in most instances, receive little more than the
wages of footmen, without the advantages of board, lodging, and
livery ! Can it then be matter of wonder that the service is
generally performed in a manner so discreditable to our ecclesi«»
astical establishments ?

THE SIEGE OF ROCHELLE.

To the Editor of the Musical Library.

London, Feb. 28th.
Sir, — ^When I heard the chorus, ' Vive le Roi ! ' in the opera
lately so much the subject of conversation and controversy in
musical circles, I felt convinced that the subject was not new, but
could not call to mind its real source, I quite agreed with you,
that the quartet of Weber is much in the same style, though not
necessarily the model of the composition claimed by Mr. Balfe ;
and I think it probable that he never saw the work m which that
clever piece appears, for it is printed in Germany, is set to Ger-
man words, and belongs to a class of music too good for Italy, in
which country, if I mistake not, Mr. Balfe pasised the whole of
his time, from the moment when he quitted England,^-or Ire-
land, I know not which, — till his return to these hyperborean isles.
But, in turning over Meyerbeer's fine opera, // Crodato to
Egitto, last week, the conspirators* choi'us — the Cora dei Con*

?iurali — ^ Nel silenzio fra V orror,' caught my eye, and instantly
recognised the motivo, almost note for note, which has supplied
nearly the whole material for the chorus in the Siege o/Rochelle*
It is true that the time is altered, and changes of a slight kind
are made, apparently to disguise the imitation : the resemblance,
however, is ot too decided a kind to be viewed as an accidental
coincidence, ^and must, I fear, be imputed to a disregard of the
rights of authorship.

Here is the subject of Meyerbeer's chorus : let it be compared
with that to which Mr. Balfe has fixed his .name, (^ven in No*
32, page 33, of your Supplement,) and he who denies the same-
ness must either be blind or deaf, or boldly determined to shut,
his eyes and ears to conviction.

Tenori.

Bassi*

fv^

m«nrw , j: 4

^■^B ; .'^l cJ ■"■•rp

N«l u - l«n - - - no fia Tor - rer

N^ M-

• Willig's Surrey.

THE MUSICAL LIBRARY.

•^^3/

?~T~r

BIO fira Tor

Cir - con
Bassi.

#-^

f=?=^

:ic=*:

trft - di

tor.

Cir - eon

-e^

diam

tim

tor.

I am anxiously waiting to hear Mr. Balfe*s reason for having
put his name to the air, 'M^ cottage near Rochelle/ or to
listen to his apology. Somethmg is due to the public on this
head> and cannot, according to my notions of honour, be any
longer withheld.

I am. Sir,

Your obedient servant

J. M. D.

WHAT IS THE MEANING OF THE WORD 'CLAS-
SICAL' IN A MUSICAL SENSE?

[An En«y, from the Gernum of C. B. Ton Miltits.]

One so often hears the word CUxMsical used in music, and so
often hears it applied to ancient and modem composers, to
serious and comic compositions, that one might imagine that the
idea of classicality, t. e., the sum total of requisites that are ex-
pected from a work or composer to constitute them classical —
one mi^ht imagine, we say, that this idea was so fully and clearly
comprenended by every one, so accurately determined, as not to
admit of the slightest doubt. In the musical world, at least
among musicians, one might &irly suppose that they knew what
they meant when making use of the expression: Yet do this
very body betray the greatest confusion of ideas, the greatest
difference of opinion, so soon as they have to make a selection
from a series of productions. One thinks that alone classical
which is grey with age: another desires a school of severest purity,
and an utter exclusion of all the excrescences of fancy : a third
thinks classicality no where to be found, save in the composers of
his own period. Indeed they may be all right, so far as every
one proceeds from his own point of view ; but whether one has a
light to set up one*8 point of view as a rule for all who may differ,
is a matter of considerable doubt All parties, provided they
proceeded according to the dictates of a sound judgment, mi^ht
be united, could a general principle be found accorcUng to which
we might determinately say, with equal application to all places
and times, — to the worxs of every composer of one species, ' this
or that work is classical' Although we here only speak of one
species of musical works, yet must our principle, if correct, be
applicable to all species, and we name only one to speak of all ;
as the rhetorician says, we use partem pro iotOy the part as the
representation of the whole. Without touching on the etymolo-
gical derivation of the word, which would but little interest our
readers, we content ourselves by remarking, that the word
classical, according to its present meaning, signifies worthy to be
held up as a pattern : * that, in a literary sense, it is ordinarily
applied to tne Greek and Roman, in contradistinction to the
modern literature. However, as it is well known, the European
nations of the present day have their classical literature, and we
must justly speak of the classical authors of Germany, England,
J'rance, Italy, &c., meaning authors, many of whom, as Schiller,
Goethe, Byron, Walter Scott, have lived in our own times.
Hence the idea of classical does not merely serve to denote what
is excellent in one people at one time, but what is so at all times
among all people. What scientific and artistically cultivated
nations of any period considered as excellent, — worthy to be imi-
tated, — and therefore classical, really was so. Hence works of
our own period, composed by some poet four weeks ago, have

{'ust as fair a claim to be considered cl&ssical as those which
lave been composed four centuries ago. And hence both old

and extremely modern works may be esteemed excellent at the

^ — • - '1 J

..• To exhaust the meaning of the German word M»i$ierhaft as much as poisible,
we have made nse of this long periphrasis. — ThiM.

same period ; but it can by no means be maintained that works,
whose authors have been dead many years ago, alone deser^ to
be considered classical The reader will bear this assertion
fairly in mind, as upon it all our argument depends. Hence,
we again repeat it, every period in whic% there was an intellectual
striving among the European nations, and which striving produced
fruits, every such period afforded works classical, considered in
their own point of view. No period exclusively deserves that the
predicate classical be applied to its own works alone. There
are only two exceptions, wnich, however, do not touch the musi-
cian, viz., the period of the revival of science after the miCTations,
when there was no cultivation beforehand, but all had to be
formed ; and in more modem times, the decline of several JUera-
tures, which seem to have outlived themselves ; as the Italian,
Spanish, Portuguese, and Slavonian, of which, however, we by-
no means intend to say, that if they* raised themselves, being
favoured by circumstances, and made use of their former history,
they might not reappear with classical works.

In a close consideration of the classic literary works, both oF
the former and present age, we perceive as a leading quality the
absolute combination of beauty in invention with perfection in
representation; neither matter nor form predominates, but each
seems, as it were, fully to infuse itself f into the other. Mere
correctness, without any genius in invention and beauty in execu-
tion, would still less deserve the name classical, than genius
without correctness, but only the two in union have any claim to
this predicate. And herein we find a difference between the
belles-lettres and music, which on the one hand appears to the
disadvantage of the latter, but on the other gives a clue to a
closer estimation of the classical in music. Tlie principle of
classicality which we have sought for, which is to be applicable
to every species of artistical productions, and those in all styles,
is this : perfect beauty both of matter and representation must be
intimately infused into each other. Painting, sculpture and the
belles-lettres are subject to no taste of the times. What was
called beautiful in the time of Phidias, Raphael, Horace, or
Schiller, is considered so still. Not so in music. In the first
place, music (considered according to the European sense of the
term) is a far more modern art ; and, strange enough, all the
works of the earlier periods were merely grammatically correct,
but were by no means poetically beautiful or even tasteful!
People were so busied with the matter, the ear was so uncuki-
vated, that the strict following of a path, half mathematical, half
acoustic, was held to be the highest attainable point In later
ages arose an arithmetical school of art, which soon dwindled into
mere affectation, but still there was no mention of a genial
apprehension and representation, of a feeling — that is to say, of
no real art. This went on, till what was called the free style
arose, and with it the possibility of giving an expression proper to
the words — indeed, one different from that prescribed by the
severe harmonic method of treatment. Among the popular
melodies something like truth, fancy, and nature have sprung up,
but these belonged to the populace alone, and dry science pru-
dishly disregarcfed them. Hence what was composed from 1600
to 1740, (we speak of chamber and theatrical music, for church
music still retained its severity,) might be reckoned classical for
the period. But it is not so, considered with reference to our
present views, because our now enlightened taste demands a fuller
apprehension of the force of the words, and a lively colouring of
the harmony by means of our much advanced instrumental
music. To blame our age on this account, and to desire to lead
it back to former tastelessness, were as absurd as to require
Vestris or Taglioni to dance in wooden shoes, because, forsooth,
at the origin of dancing, there were probably no others worn.

Thus, if a society or vocal academy meant to give, e, g,, for a
series of years, an annual festival of great classical music, as for
instance an oratorio, a mass, a cantata, or whatever it might be,
they would but imperfectly fulfil their task, if, with a view of
giving what are called classical pieces, they performed nothing^
but the compositions of Bach, Graun, and Handel. These works
are classical, but only for their time, and considering the concep-
tion of that time. Their excellence should be acknowledged, and
they should sometimes be heard, but a pious regard for pre-
decessors which turns to a blind injustice towards successors is,
indeed, an impiety, a onesidedness. What chiefly distinguished

** 7X<y, L e., the literature, — doubtlen a etraagv nommatif e te the EogUili
— T.
t LitenUy, to penttrait (dringea) inio tack e£Acr.-^Ti

THE MUSICAL LIBRARY.

those old masters was their skill in counterpoint. But they have
transferred this skill to their successors,, for that Homilius^
Weinlig, Naumann^ Mozart, Haydn, Spohr, and several others,
knew and still know how to compose, fugues, no one will deny,
who knows anything about the matter ; and still further, no one
will deny that the. arias of Handel, Bach, &c., are for the most
part very tedious and tasteless.* All the exorcisms of the or-
thodox will prove vain against this assertion, since the indiffer-
ence of the public, towards the work3 of the earlier period, which
gradually increases, speaks for us loudly enough. People cannot
see why music, full of fancy and elevation in the choruses, full of
force and art in the fugue movements, full of expression and taste
in the arias, — ^to sum up all, such works as The Creation, The
Four Last Things, The Mount of Olives^ David penitent, and
several other modern compositions, while they properly comply
with the requisites of art and the taste of the times, should not be
preferred to those, which, as they were composed seventy, eighty,
or a hundred years ago, could not have such a combination of
advantages for the present age. If then a society, such as we
have mentioned above, has one year performed an oratorio by
Handel, or a mass by Bach, they will, not only from just, but
also prudential motives, give a similar work of a newer and
perhaps even living composer. If the composer himself be pre-
sent to direct his own work, the whole will go off with much
more' life and energy. The melancholy experience that such
unworthy passions as jealousy and envy suppress a good work, or
often commend that of a deceased composer to prevent a living
one from rising, is not to be feared with a committee, and an in-
telligent head who may have a decisive voice. At all events, such
passions should be regarded with contempt, and suppressed with
unsparing severity ; because, it is those which chiefly prevent the
progress of art, and even hurt its esteem in the mind of the public
at large.

PROLOGUE,

Spoken at the Musico-declamatory Academia, held in the Con-
cert-room of the * Friends to Music in the Austrian Empire,' on
the 8th of December, in honour of the immortal masters, Haydn,
Mozart, and Beethoven.

[TraosUted from the German of J. "N. Vogl.]
Man on bis pilgrimage delights to build
A monument to what is beautiful,
E'en' if a transient one, which shortly flies.
Follows the lost one, as the dew of the night.
Man loves to show, that from his heart responds -
The Beautiful, which he has learned elsewhere,
Even as the tones which sound from Memnon's head
As soon as morning lights it with her ray.

The very savage piles a heap of stones
In desert spot, where some dear friend has died ;
Yea; he erects it, though he does not know
Whether man's foot shall e*er approach the place—-
It is his heart, which urges on his task.
The man of wealth builds high a, monument.
Adorned with statue, column, and deep verse.
The singer sings a song, a waving leaf
Which he anon to wanton winds resigns ;
Him'self is as the sower, scatt'ring grain.

And e'en as they — so does each noble soul
Btdld silent in his bosom's deep recess,
A monument to what is beautiful.

Then take it not amiss that also these,
Euterpe^s sons, in honour of their masters,
Mozart, Beethoven, Haydn, have built up
A transient monument of their esteem.
Oh, have you often shown, by the applause
Which music's power forced you to bestow.
How much you joy'd in lovely tones — how felt,
When those great masters' holy charmed sounds.
Like spirit voices from a better world,
Enwrapp'd you in divinest melody : —

Then grant these youths the privilege, that they
May honour in their works the mighty dead,—
Be gracious to the tribute that they pay.
Their homage to the manes of thp great.

f So rash and absurd an opinion mutt have originated in a total if^oranee of
panders best works. A well-known character, after roiudljr abusing Shakspeare,
was compelled to acknowledge that he had read only Tkt Wmitf't Talt, and TIfM
Jinirmieut, fint von Miltits most probably had heard only a few of Handel's
worst, and now forgotten, opera airi.--(£tft/9r.}

PHILHARMONIC CONCERTS.

To the Editor of the Supplement to the Musical Library.
Sir, — I beg to call your attention to the last performance of the
Philharmonic Society, the third of the season, the vocal part of
which was unworthy of this metropolis, and exceedingly discredit-
able to the managers of the concert.

L understand that Madame Coleoni Corti was asked to choose
an air of Mozart, and that she replied, that she not only was un-
prepared to sing any music of that composer, but had never even
heard one of his oi)eras ! Was not this prima facie evidence of
her being a very unfit person to be engaged by the Philharmonic
Society? SignorCartagenova — not a bad performer — ^was allowed
to select a trumpery composition by Mercadante, which was de-
servedly hissed. Signor Winter was sanctioned in his choice of an
air to which he was quite inadequate ; and a duet of Rossini^
with a miserable tail-piece by Donizetti foisted in, but which the
directors thought fit not to notice in the bill, would have been
rendered intolerable by the singers, had not the orchestra com-
pletely drowned their voices.

Now, Sir, tjie managers, or directors, cannot plead ignorance
of the disqualifications of two out of three of these singers for such
a concert, for they had been heard over and over again at the
opera. They will not venture to plead ignorance of the music
chosen, because they will not dare confess that they consented to
the performance of compositions, the merits of which were un-
known to them. Nay, they heard the rehearsal of them, and, if
capable of judging, must have been certain that the whole of the
vocal part would prove a failure.

The directors cannot defend themselves by saying that there
was little choice of singers. Were Mrs. W. Knyvett, Mrs. A.
Shaw, Miss C. Novello, and Miss Masson, all engaged ? Were
there not half-a-dozen good tenors and basses to be had ? Plenty
of singers were at liberty ; ^praiios, tenors, and basses, not .one
of whom had appeared this season at the concert.

But, novelty is desirable. Granted : I know full weU, however,
that foreign singers are too eager to sing at the Philharmonic to
be nice about the terms ; and if the managers had, in good time,
engaged even these, and given them a few days to study what
ini^ht have been allotted to them, they would have been prepared
— m the best way their abilities would allow — ^to sing what was
required of them. I have the honor to be, Sir, &c.

Union Club, March 24th. A Subscriber.

NECROLOGY.

In January last, died Dr. John Clarkk-Whitfield, Professor
of Music to the University of Cambridge.

This distinguished English composer was a native of Glou-
cester, a city which, having a cathedral, has produced several
good musicians. He received his professional education at Ox-
ford, under Dr. Philip Hayes. In 1789 he was, through the
interest of Earl Powis, chosen organist of Ludlow. In 1/93 be
graduated at Oxford as Bachelor in Music In 1795 he was
appointed organist of the cathedral of Armagh ; and in the same
year the degree of Doctor in Music was conferred on him by the
University of Dublin ; at which time, recommended by the pre-
sent Marquis Camden, then Lord-Lieutenant of Ireland, he was
elected master of the choristers of St. Patrick's cathedral and of
Christchurch.

The state of Ireland in 1798 induced him to quit thai unhappy
country, and he soon obtained — what he indeed was led to ex-
pect — the offices of organist and master of the choristers of
Trinity and St. John's colleges, Cambridge. The year follow-
ing, that university admitted him to the same degree that he
had obtained at DubUn. On the death of his maternal unclci
H. F. Whitfield, Esq., of Rickmansworth Park, Herts, in 1814,
he took the name of his relative, but was, we believe, much
disappointed in his expectations of succeeding to his property.
. Cambridge affording no great encouragement to an artist of
Dr. Clarke*s rank, and, moreover, having been, we suspect, of
rather an unsettled disposition, he in 1720 accepted the place
of organist and master of the choristers at Hereford, a situation
which altogether held out greater temptations than any he had
before filled. In the following year, however, the university
proved their respect for him, by electing him their professor, on
the decease of Dr. Hague.

A few years ago Dr. Clarke was attacked by paralysis, which
soon deprived him of the use of one side. He then relinquished

G 3

THE MUSICAL LIBRARY.

his ^ppointmepts at Hereford, and was succeeded by Mr. S.
Wesley, jun,,' a gentleman whose musical talents and general
education lead to a reasonable hope that he is destined to prove
one of the highest ornaments of his profession.

Dr. Clarke was a voluminous author. His cathedral music is
of a superior kind, many of his ^lees, odes, songs, &c., set to the
most popular poetry of Sir WsJl^r Scott, Mrs. Joanna Baillie,
.&c., are well known to most of our readers. Of these ' The Last
Words of Marmion,' ' Ave Maria !' and a few other things, will
not soon be forgotten. He also wrote an oratorio. The Crucifision,
in two acts, which was performed at Hereford, at the triennial
meeting, in 1822. To him we are likewise indebted for an ar*
rangement of Handel's oratorios and anthems, in fifteen volumes;
as well as for The Beauties of Purcell, adaptations of Arne's
AriaxersceSy of Lock's Macbeth, &c.

Handbi..
Haydn.

Stiffani.

ouoliblhi,

Hamdbl.

Handbu

MOXART.

Handbu

Handbu
Hamobl.

FEMQOhMBU

BIabcbllo.

Pbroolbbi.

H.Waxliibiit.

GuoLiBun.

Bbbthotbn.

CONCERTS OF ANCIENT MUSIC.

FIRST CONCERT, Wednesday, the 9th of March, under the Direction cf tbft
Archbtthop of York, for the Duke of Cambridge.

Act I.

Tint, Second,Third, and Fourth Movements. ( Deitingen TV Deum.)
Aria^ Mr. Balfe, ' II Penaier.' j'Orfeo ed Euridice.)

Glee. ' When winds breathe sort ' , • • •

Trio and Chorus. * Qui pacem amati^ ' • • •

Aria, Mad. Caradori, * Gratias agimus' • • • •

Movement from the Lessons . • . * •

fe'^^jL^taie^^^ •

Act II.
Overture. (La Clememsa di 7V(»}. • • • •

Recit. * Bless'd be the Lord ' 1 / c«a..««.v

Song, Mrs. Knyvelt, * What though I trace • J \,s^onmon).
Quintetio. ' Doni pace.* {Plaviui.') . • • •

Bong, Mr. H. PhiUips, < Why do the nations.* (Memak).
Choros. ' Gloria in ezcelsia' . . • • •

Duetto, Mrs. Koyvett and Mrs. H. Bishop, < Qual anelante'
Song, Mr. Balfe, * O Lord have mercy ' . •

Qlee. < O'er desert plains '.••••
Song, Mad. Caradon, and Chorus, ' Vengo a roi ' • •

Grand Chorus. 'Hallelujah!' (MouMi o/ Ofhes). •

W» hail the return of the Ancient-concert season as the pledge,
given by a large body of most influential persons, of continued
encouragement to compositions which, while they are the foun«
dation of all that is excellent in the art, are at the same time
perfect of their kind, and imperishable, because not merely
written for temporary effect, or calculated only to meet the wants
of a taste proverbially inconstant, but formcNcl on principles im-
mutable so long as the established system of harmony — a system
founded in nature — shall prevail.

The number and nights of concerts, the terms, the directors,
and the performers generally, continue as last season. The
subscribers, too, consist of nearly the same persons, and exhibit
less mixture of classes tfcan is found at every other concert in
London. IVhether this has, or has not any beneficial tendexicy
is matter of opinion : the present state of society and the peculiar
Mture of these performances being considered, we rather incline
to the affirmative side of the question.

The four movements, choral ones, of Handel's splendid T0
Deum, and indeed all the choruses, were performed with an ac-
curacy, a perfection, nowhere else to be met with ; we mean, as
regar(U execution. Powerful as the vocal band is here, five
times its strength is required to give sublimity of effect to choral
compositions: but we hardly need add, a three-hundred-voice
power, with instruments in proportion, could not be placed, or be
pud for, in a subscription concert-room.

Haydn's lovely air* was chastely sung by Mr. Balfe ; but we

E refer Mr. Parry, jun., in this, both as respects voice and manner:
ating, however, certain jerks — acciacature — which the latter
should reform with all possible speed, or they will become a con-
firmed habit Webbe's chef-d'ceuvre might have defied criticism,
had the alto blended better with the other parts. Good high
male voices are, we grant, comparatively rare, but we venture to
assert that in two counties only, in Yorkshire and Lancashire,
excellent alto voices might be met with in dozens, had our con-
cert managers activity enough to seek them out. The movements
from Steffani's motet were very charming.

Madame Caradori, in the hacknied aria of Gruglielmi, and
Mrs. Bishop, in the not less worn out song from Samson, exerted
themselves in a very satisfactory manner, while confining their
efforts to the original text, but the cadences which both ladies

inflicted .on the audience — ^t he one accompanied by the clarinet,

»« " i ■■ ■' • i ■ ■'■■ ■■ ^ ■■ - ■ ■ ■■ —

* See MunaU library, ii. 81.

the other by the trumpet — cannot be too highly condemnwi*
Each air is full of tours deforccy yet a mawkish bravura taiU
piece was added to both, which may have proved gratifying \fi
the actual performers, but certainly to none else. Why does not
the conductor, or, if he lacks courage, the director, put his veto
on such excrescences ? They are monstrosities appearing in
these isles only, and should at once be extirpated, by a gentle
operation, if possible, or by that infallible remedy which the public
have alws^s at command.

The 'Movement from the Lessons*,* with Mr. GreatorexV
charming accompaniments, and the overture of Mozart, went off'
with great spirit and effect. Mrs. Knyvett*s 'What though I
trace, was delightful She 13 a true eleve of the ancient concert
school, retaining all its traditions, and superadding whatever-
real refinement the more modern style can supply. Mr. Phillips
was as great as usual in the song from The Messiah ; and the
lovely duet of Marcello was received with those gentle yet verr
significant breathings of applause, which showed how much
pleasure it had afforded. Mr. Balfe, in Pergolesi*s most devo-
tional air, displayed great feeling and judgment, but his cadence,
short as it was — and which, by-the-by, seemed to be unwillingly
introduced — nearly neutralized the effect his singing had pro**
duced.

Seldom has there been a more unhappy union than that
brought about ^by the late Mr. Robert Cooke) between Shen*»
stone*s beautiful verses and Waelrent's madrigal. Each sqpa>-
rately possesses charms which none will deny; joined, their
incompatibility is very generally felt, and deplored by sil who^
think that the character of the music should agree with the sen-
timent of the poetry. Guglielmi's aria and chorus is a fine
dramatic composition, beat heard on the stage, but now executed
in a very efficient manner by Madame Caradori. The grand
chorus by Beethoven was admirably performed, and nM)re re-
mained to hear it than generally wait for the dismbsing piece.

8BC0ND CONCERT, Wedneedaj, the 23id of Mueh| aader the Diiectioa
ef Sari Howe.

Act I.

Coionatioa Anthem, ' The king shall rejoice' • •

Quartet, ' Exceediog glad.'

Chorus, ' Glory and great worship.'
Tersetto, ' Soave sia il Tento.' (Com/mn 7W<f). «

Duet, Mr. H. PhiUips and Mr. Parry, jun., < The Lord it a ]

war.' {krmeimEgwjfiy • ' • « • • • •
Madrigal, 'Down in a flow'iy Tale' • « • • • ••
Redt. I <0 worse than death' \ rn^..j.^\

Air, J Mrs. Kayvett, < Angels efer blight and (air ' { K^*^»*^M
Motet, < Glory, praise, and adoration' • • • » •
Trio, Messrs. Lindley, Dragonetti, and Croach • • « »

8on^, Mod. Pari|(iani, < Dove seL' {Rodelindm)

Recit., Mr. H. Phillips, • Rejuice, ny eouatryoBM.* > /«: .,t x

Chorus, ' Sing, O ye heaTMfc' J C^*'^**^';.

}

Hakdbi.

M0K4BT..

Kahdxl.

Fbsta.

MOSAST.

ConBi.i.f»
Bahoxl.

Eaxdbw
Hatdw.

]flI.LICO^

Handbi*
Hakobl.

WlLBlX»

Glucx.
Eaicdbl.

ActII.
Orertuie and Dead March. (&»/). •
Recit) «£il padre'

Aria, 5 Mrs. H. Bishop, ' Gia U vitliaaa'
Introduction and Scene from the S«at«iia» * Co»«» fftU
Trio, <Fairn is thy throne' • • • • ,
Double Chorus, ' From the censer.' {Solowtm}. • •
Song, Mr. Parry, jun., < Honor and arms.' {Sam§om), •
Madrigal (full choir), * Flora gave me fairest flowers' •
Rectt.| < Sposa, Euridice.' \ f^.^ v

Aria, 5 Mad. Parigiani, ' Che farA.' J \y^f*^> •
Chorus, < Fix'd in his everlasting seat.' (SamMm).

The Queen, acco^ipanied by her relations Prince Ernest or
Hesse-Philippsthal> Prince Carolath, and Prince Geom of Cam-
bridge, and attended by the Archbishop of Yorjt, fiarl Howe^
and Lord Burghersh, directors of the concerts, together with
Lord and Lady Mayo, the Earl of Winchelaea, aixf Lord and
Lady Radstock, honoured this performance by her presence. In.
the director s seats, which are in front of the orchestra, were the
Duke of Cumberland, the Duchess of Cannizzaro, the Bishop of
London, &c., and the room was quite full.

The Coronation Anthem, one of Handel's ablest and most
pleasing conrpositions, commenced the moment the royal party-
entered, the Queen and aU the company standing during the first
movement This was very effectively performed. In Mozart's
Terzetto, faulty intonation was too perceptible, and the whoI&
suffered grievously from this direful cause. TTie duet from
IzTOieX in Jagypt is suited to Mr. Phillip's voice and style, not to
Mr. Parry's, who was as effectually drowned by hb colleague's

* By which is meant, the Air with Variations from HaadfiTs Smift det ^fesesy voJtf
tiihed In Part XXI. of J%€ MaioaJ librw^.

THE MUSICAL LIBRARY.

Toca! flood, as Pharaoh and his host wefe hy the waters of the
Red Sea. Festa's beautiful madrigal was executed with the
utmost degree of perfection. It was repeated by her Majesty's
desire.

Mrs. Knyvett's ' Angels ever bright/ requires no eulogium : it
was not less excellent than heretofore. A more grand composi-
tion than the motet of Mozart cannot well be imagined, nor can
a more correct performance of it be conceived. This high-bred
audience were almost tempted to express their satisfaction in an
audible manner. And Corelli's trio also very nearly threw them
off their guard. We expected that a clapping of hands would
actually be committed. In the lovely aria from Handel's opera,
Rodelinda, an Italian lady first appeared in public, if this con-
cert may be called a pubuc one. Having been heard during the
last autumn, at Brighton, as an amatrice, she was persuaded to
essay her powers here. Her voice is a rich, pleasing meszo-
s<^rano, and her intonation is correct. She seemed totally un-
acquainted with Handel's music, and sang with a chilling
plainness. But in Gluck's most impassioned air she was more
at home, and gave it with some effect. The recitative in Bel-
^haxzQTy ' Thus said the Lord, to Cyrus,' is one of Phillips's
triumphs : he delivered it in his accustomed manner ; and the
succeeding chorus was splendid.

It was evident that the Dead March in Saul made a deep im-
pression on the royal foreigners ; but their wonder was still more
excited by the chorus, ' From the censer,' which was a noble

Eerformance: though one over-zealous chorist excited a smile,
y introducing himself half a bar before his turn for an audience
had arrived. In the fine scena of Jomelli, — which, though up-
wards of eighty years old, was introduced into this country only
last season, and to the classical taste of Lord Burghersh we are
indebted for it — was sung with great feeling by Mrs. Bishop.
The scene from The Seasons made every one forget the wintry
day they had passed. And the Trio (' Ho sparse tante lagrime '
harmonized) operated like a charm. Indeed^ insensible must
they be who do not feel the potency of such a melody as Mil-
lico's, and such poetry as Moore's !

'Honour and Arras' — we mean the song — should never be
assigned to Mr. Parry, jun. : as, in the instance of the above-
mentioned duet, it is wholly unfit for a singer who abounds in
gracefulness, but cannot boast of Stentorian lungs. Wilbye's
master-piece, • Flora gave me fairest flowers,' if not quite so
perfectly executed as the first madrigal, was performed in a
manner that gave great satisfaction. The final chorus again
displayed the accuracy and power of this vocal and instrumental
band, and most of the company remained to hear it; partly,
' however, in compliment to the Queen, who did not take her leave
till the last note had sounded^

PHILHARMONIC CONCERTS.

8BCON0 CONCERT, MONDAY, HAECH 7.

Act J.
Sinfoiua in (No. 6) . • . . . , .

Daeito, Madame Caradori Allan and Mr. Balfe, ' ^enj, i lor tor-

»enti.» {Euiymuke). C, M. ton Wsbuu

Concerto in o, Piano-finte, Mia. Andenon Berbotim.

Aria, Mr. Balfe, < Fermo rimanti,' (GugiieAw Teit), « • . Roesiin.

Of erture, Ofterw . C. M. tom Webbs.

Act II.

Binfonia, in o minor Bbbthotbh.

Aria, Madame Caradori Alias, < Non mi dir.' (J/ Don Oiovami). • Mosart.

Concwto, Clarinet, Mr. Willman C. M. ton Wbbbb.

Terzetto, Madame Caradori Allan, Mr. Briiii, and Mr. Balfe,

* Quelle diXito.* (La Cltmmxa di Tito) Mozabt.

Oi^iim, TameHane Wintbb.

Leader, Mr. Mori.^CoBdiictor, Mr. Biahop.

This coneert, so far at least as the* four great instrumental
pieces are concenied, was not inferior to the first. Indeed the two
symphonies are ranked by many able judges as the orchestral
ehefs'd'ceuiore of their respective masters, an opinion wliich we are
not at all prepared or inclined to dispute : for though in neither is
found that tenderness and deep pathos which render some of the
works of the same composers so touching, yet each possesses other
qualities that are, in the estimation of many excellent critics, quite
as valuable ; among which grandeur stands the most prominent,
and is comprehensible by all ; while what is commonly termed the
science — ^tne machinery, the means whereby the artbt poduces
his effects— is understood by only the few. Both were admirably

performed. Atid ttot less perfect itraa tbe unearthly, fairy-like
overture to Oberon, which is. executed by tbe Philharmonic baQd^
and by this band only, in a manner that unfolds all its beauties^
and in ' the same spirit that the author writ' Tamerlane is one
of Winter's best works. One almost regrets that it should come
when half the audience are on the move^ and a general disturb-
ance is taking place ; but something must come last, and the last
here ought to be equal to the first in most other concerts.

Beethoven's concerto in g is constructed of lighter materials
than that played at the preceding concert by Mr. Moscheles : it
cannot boast of much unity, the passages are not so well con-
nected with the principal subjeets; but there is in it some
charming melody, a great <leal of almost captivating playfulness
and grace, and, except in the last movement, originahty is. a
striking feature of the composition. Mrs. Anderson did it every
possible justice. Weber's clarinet concerto has more than ooee
called forth our praise; and as to the performer, we have^ in
speaking of his tones and his taste, exhausted the language of
approbation.

Madame Caradori sang the splendid scena of Mosart in what
may be termed a mixed manner. The recitative she delivered
with judgment, and the larghetto of the aria with expression, bat
some of her departures from the text were not judicious, and the
last movement, the allegro, is ill calculated both for her voiee
and style. Mad. C. is not, or ought not to be, a bravura singer.
Her duet with Mr. Balfe was more effective. The latter gave
the air from OuUlaume Tell in a spirited manner; but great ani-
mation does not necessarily imply unnatural pulmonic exertion.
His voice, and everybody's when strained, loses all its musical
character, — becomes hard, harsh, and disagreeable; and it is
unnecessary to add, that no passion should 1^ so expressed in a
vocal performance^ as to destroy, or even injure, musical effect.
The air is a very fine one : indeed we cannot help feeling some
surprise that more of an opera containing so much of a hij?h
order is not frequently heard. It is too good, we suspect, for
the generality of Italian singers; they neither understand nor
can execute it. The terzetto from Tito was far from successfid,
partly owing to the inadequacy of the tenor, and in tome degree
from want of a proper rehearsal.

THIRD CONCERT. MONDAY, MARCH 21.

Act I.

Sinfonia, ino G. Pomnu

Aria, Signor Cartagenova, < lo 1' amai.' (/ Nonmmm'a Parigij. • Mbrcadamtv;.
Concert-Stack, Piano-forte, Madame Dulcken . • • CM. ton Wbbru .
Aria, Madame CoUeoni-Corti, * Casta Diva.' (iVcvwa). • •• BsLLiiri.
Overture, Dtr Bekerrtchtr d4r Geitier • • • .CM. vcm WflUQb

Sinfonia, is a tat ,« BunaanMU

Aria, Sigmir Winter,' Che vidi.' (Z/kmrn}. . • . • RoMim.

Concertino, Violin, Mr. Blagrove Sfoiuu

Duetto. Madame Celleoni-Coili Md fligOftr Giu(ti^;«^a» * Aiwa,

tupiangi.* {MgumeUo S€Cmdo) • Rosaim.

(htJtHK, Die Zattber/tSte MbiABT.

Leadw, Mr. WMcbeL^CoiidfMler, Mr. C. IMItr.

M. Potter's is a clever symphony, the adroit composer is ap-
parent in: every part of it, and the score, we are persuaded,,
though we have never seen it, presents a complete picture to the
niusical eye. The minuet and trio are very pleasmg, the latter
displaying no little novelty ; hut the two first movements would-
be much improved were they shortened, the quick one especially^
the subject of which, though elegant and far from common, p
exhausted long before the final note of the movement arrives.

The beautiful symphony of Beethoven was executed with great
spirit and delicacy. And not less of both was exhibitwi in
Weber's most characteristic overture to The Ruler of the Spirits.

The Concert' StOck, or Concert-Piece, of Weber, is of the fan-
tasia kind, wild, and completely a flight of the imagination. It
opens slowly, in f minor, then breaks into a most animated, de-
lightful, and original march in c major*, and concludes with what
the author calls a joyous rondo, in f. The tours-de-force, with
which the quick movements of this piece are studded, give it too
much the air of a piano-forte exercise; the accompaniments,
however, by which these are partly covered, are so ingenious, that
we forgive what seems to have been written merely to display the
agility of the performer. In a very extraordinary degree this
agility was exhibited by Madame Dulcken, whose rapidity and
neatness of execution were truly surprising, — ^matchless, we might

* TUewtahaU give ia tile next pail of thsMviMtfiliDUUunBi

TttE' MUSICAL LIBRARY.

almost have said — and in the slow part, the largheito openings she
showed no deficiency of expression.

We were in every way highly gratified by Mr. Blagrove's per-
formance: The music, — the concertino, as it is modestly called —
is melodious, and the accompaniments just what a composition
of the kind requires. The vigour and brilliancy with which the
difficult passages were executed, and the delicate manner in
which the graceful ones were played, added much this evening to
Mr." Blagrove's reputation as a first-rate violinist He alrieady
stands high on the list of great performers, and may soon contend
for the palm with the most celebrated in Europe.

Of the vocal portion of this concert we will say little, out of
consideration to the performers, and out of mercy to the directors.
Sigiior Cartagenova was the best of the three singers, but on him
the wrath of part of the audience fell. The other two were per-
fectly ridiculous. It is right* certainly, to give the subscribers
an opportunity of hearing every new vocal importation that is
likely to become the subject of conversation, but the directors,
not the performers, should select the music, for the latter will,
almost invariably^ choose the worst that is to be had. The three
now heard were, past all doubt, too happy to be allowed

d would have

to appear at so celebrated a concert, and
themselves on any terms. That they would have been unwilling
to sing anything which they did not know by rote, is next to
certain, but rather than not be heard here, ihey would have con-
sented to study something worthy of the audience. Thus the
music at least might have pleased, if not the performers of it

VOCAL SOCIETY.

THIRD CONCERT, MONDAT, FEBRUARY 29.

Pajit I.

-Coropation Anthiin, ' My beait is iDditug,' • •

Glet*, five voices, * Thou art beautiful* • •

Song, Miss Woodjatt, ' Through the land' {Athalia) •

Madrigal, five voices, < Ari»e ! awake I' • •

Quartet and chorus, ' To di grazia' . • •

Aria, Mr. Phillips, < Qui sdegnu' {die Zuuberfloti) •

Glee, five voices, ' O bird of eve !* . . •

CboruN, ^ The ti^er crouches* {Tht Maniac) . •

Romanza e Rondo, piano-forte, Mrs. Anderson •

Fart II.
ChosQS, ' Sanctus' . . • * .

Duel to, Mrs. £. Seguin and Mr. Parry, Jan., ' Dolce del

(Sargino) * .' ,

Glee, four voices, ' Go, fet- ble tyrant I* •

Scena, Miss Rainforth, ' Before my eyes* (D«r Freiichuiz)

Madrigal, < When April deckt in roses' • •

Terzetto, < Qual Silensio !' . • • .

Aria, Mr. Balft, < lo credea' (Henrico IF.) • . •

Glee, four voices, * Te spotted snakes* . • • •

Tiiiule, * Per vol rispleode il giorno' (die Zauberflote) •

» Haudku

Callcott.
Handel.

MoRiJEY.

Haydn.

MOSART.

Lord MowtmoTON.
Bishop.

HUMMRL.

Tbb Arrr Voolsr.

• Pair.

• Jackson.

• Wrbsr.

• Llca Mabkhzio.
. Attwood.

• Balfr.

• Stbtrns*

• Mozart.

The anthem, composed for the coronation of George II., was
well performed;* but' neither the grandeur of part of this, nor
the beauty of the movement in e, ' Upon thy right hand did
4Stand the queen,' much moved the audience. Callcott*s very
•charming glee, however, which was admirably sung, produced
great eSect. There is much to admire in UandeFs air-*one
which he re-set*^but the style is somewhat obsolete ; the sym-
phony b meagre, and the divisions mere 'garglings in the
throat.' Morley's spirited madrigal was encored. This able
composer, and still more acute and judicious writer, was in all
things in advance of his age. The present work is from The
Trh tnphs of Oriana,

The quartet of Haydn, part of the Seven last Words from the
Cross, a fine tranquil piece of harmony in c minor, was executed
in a devotional, correct manner. Mr. Phillips thoroughly un-
derstands the true character of the lovely air, assigned to the
priest, in -the Zauberflote. The English words to this — * Within
these sacred bowers' — ^are, in every way, so fit and proper, that
we know no reason why they should not in this country have as
much claim to adoption as the Italian, seeing that the opera is in
the German language. The Earl of Mornington's glee is emi-
nently beautiful, and in our opinion ranks second among his
works. Every justice was done it. The chorus from Bisoop's
opera was out of its sphere. Effective as it is on the stage, it fails
in the concert-room. Mrs. Anderson, in HummeVs exhilarating
composition, was as correct and brilliant as usual.

Tne SqhcIus of the Abbe Vogler is a most masterly and im-
pressive composition ; the bringing it forward here reflects great

credit oh the research and discrimination of the managers ^~. The
duet, by Paer, now given in a very pleasing manner, appeared in
the last number of the Musical Library. Jackson (of Exeter)
produced very little secular music that did not show marks of
genius. His glee, * Go, feeble tyrant !' proves both originality of
conception, and great knowledge of the higher branches of the
art.

Miss Rainforth, who now first appeared before the public, pos-
sesses vocal qualities of no common kind. We may without hesi-
tation say, that her voice is powerful, clear-toned, and extensive
in compass ; that her delivery of it is good, and that her intonation
is correct. Of her style and taste, we are inclined to judge
favourably, though a single hearing has by no means enabled us
to form any decided opinion on these points. One piece may be
well got vp, while no solid foundation has been laid, and sub-
sequent attempts may disclose the secret — (we know one or two
striking cases in point) — that the singer has been instructed as
some birds of the Piae order are taught.

Mr. Attwood's beautiful terzetto was unfortunate, both vocally
and instrumentally. The aria by Mr. Balfe is so entirely
Rossinian, that we cannot speak of it as possessing anything like
a distinctive character. It was, however, well sung. :

Dr. Boycr.

HORSLRY.

Mozart.

BRRTaOTRX.

FOURTH CONCERT, MONDAT, MARCH 14.

Part I.

Corooation anthem, for George IV. • • • • Attwood.

Glee, four ? oicet, < Mark where the kilver c^ueen of night* . R. Cookr.

Aria. MiM Maaton, * Che faro tensa Euridice ?' (O^eo), . Gixck.

Madrigal, 5 Yoiceii, < Cynthia* • • • • Giotaicni Crocr (1560).

Song^ Mr. Vaughan, * Softly rise,' {Solomon) . •

Glee,Hix voicen, < What ting the sweet hirds V • •
Aria, MiM Rainforth, 'Partot' {Tito).
Fantasia, piano*forte, Mrs. Anderson • •

Part II.

Hie Christianas Prayer, Quartet and chorus • • • Spobr.

Aria, Mrs. H. Bi«hop, < ZefBretti,' (Idomeneo). • . Mosart.

Glee, four Yoices, ' With sighs, sweet rose' • . • Dr. Callcott.

Duet, Mrs. £. Seguin and Mr. Parry, jun., ' Lore in thine eyes,' J acrson.

Song, Mr. Balfe, * They tell me thou*rt the favoured guest' • Balpr.

Madrigal, four voices, ' Down in a flowery vale' • • Frsta (1541).

Qiiartetto and chorus, 'Alziam gli evviva,' {Enryanihe) • C. Bi. von Wkrxr.

Olee^ five voices, ' Come, see what pleasures' • • • Jas. Elliot.

Chorus, ' To Bome*s immortal hero,* (71/o) • • .Mosart.

Mr. Attwood's coronation anthems are both of them masterly
and grand ; but of the two we prefer that last composed and now
performed, ' O Lord, grant the king a long life.* It had but little
justice done it when his present Majesty was crowned; and now
the vocal strength was so unequal to the power of the instrumen-
talists, that it cannot be said to have had a fair hearing. Miss
Masson*s ' Che faro' was deeply impressive ; to music of this cha-
racter she should cleave, and not attempt to flirt with wanton
passages. We thought of Harrison when ' Softly rise, O southern
breezes' began, but were not dissatisfied with VaughaUj whose
pure style always pleases. What a model for a bassoon accom-
paniment does this melodious composition furnish! The two
madrigals— equally well performed — ^were both encored. Miss
Rainforth should not have chosen such an air as 'PartoT it
exacts more' thaii an inexperienced siAger can be prepared for.
But, unhappily for them, all singers now must be at once prima
donnas ; none is prudently content to rise slowly and surely.

The fsintasia ofBeethoven is at least an original composition, both
in design and execution ; but few relish it on a first or even a
second hearing. The sudden burst of voices singing the praises
of music, at the end of a piano-forte piece, takes an audience so
much by surprise, that astonishment is the only emotion the
majority really feel. It was extremely well performed by all
parties.

Spohr's sacred composition is charming : parts of it rise almost
to sublimity. In the* litde-known air from Idameneo, Mrs.
Bishop was successful ; Mr. Balfe, in his song, was quite the re-
verse. Callcott's most affecting glee will always please, and now
deserved the applause it obtained. Not less certain of a favour-
able reception is Jackson's elegant and originid duet, *Love in
thine eyes for ever plays.' It delighted the whole room.

The Duchess of Kent and the Princess Victoria, with attend-
ants, were present at this performance. We are much deceived
by appearances if the heir presumptive to the crown of these

* A niRnuseript score of a very fiue UDknowa Italian opera hy this master is ia
the possiessiou of a i^ntleman iu London. Why, when there is such a dearth of
lealty good music, u not this thought of fur the King's Theatre ?

THE MUSICAL LIBRARY.

kingdoms does not possess a true taste for music — ^Tor good music,
such as her Royal Highness now heard, and seemed highly to
enjoy. It having been announced that these illustrious ladies were
to honour this concert by their presence, the room was full almost
to inconvenience.

CLASSICAL CHAMBER-CONCERTS.

FIRST CONCERT OF THE SECOND SERIES, THURSDAY, FEB. 25th.

• Pabt I.

Qnintett, in c, Op. 25, for two violini, viola, violoneello, and con-
tra-baaso, Meaan. Mori, Watta, Uonlt, lindley, and Dragonetti Onslow.

Aria, Mr. Balftf/ Hal fpa Tinto la catiaa.' {Le Noxxe di Pifaro), Mosart.

Qoartett, No« 3, Op. 59. (Dedicated to Count Raaoamuffsky). For
two violina, viola, and violoncello, Meaan. Mori, Watta, Moralt,
and Lindley •••••• BsBTBOVXiff.

Alia, Mra. Alfred Shaw, ' Paga fui.' {U Ratic di PrtaerpiMm.) • WucTaa.

Sonata, Violoncello and Coutra-baaao, Meaara. Landley and Dra-

' gonetti ••••••• CoRBLLi.

PAarll.

Qttintett, in a, Op. 25, ptano-forte, flute, horn, clarionet, and baa-
aoon, Madame Dulcken, Meaara. Ntcholaon, Piatt, WiUman, and
Baumann ••••••• Spokr.

Bcena, Mra. E. Seguin, ' Perpietd, ben mio.* (Co$i/am ittite). • MozAirr.

Quartett, in f. Op. 80, for two violina, viola, and violonceUo,
Meaara. Mori, Watta, Mori, and Ltndlev • • • Haidn.

Aria, Mr. Balfe, * Madamina, il eatalof^.' (// Don Oiovtrnm). . Mozabt.

Otetto, Firat movement, for four violina, two Tiolaa, violoncello,
and Contra-baaao, Meaaia. Mori, Watta, Watkina, Richarda,
Moralt, Lyon, Lindley, and Dragonetti • • MaMOBLaaoHN-BABTKOunr.

The success of the three former concerts encouraged the managers
to open a subscription for a second series, and, if we may form a
judgment from the appearance as well as the number of persons
present on this first night, they did not deceive themselves in
calculating the patronage by which they should be supported.
The performance was, as before, in Willis's (or Alraack's) great
room, one-tliird of which is on this occasion divided oS by a sub-
stantial partition, and the lesser portion, carpeted, is converted
into a very commodious ante-room.

Onslow's quintet is written in a masterly manner, as indeed are
all his best known compositions; though when we have commended
the construction of the work, we have said nearly as much in its
praise as in our opinion is admissible. The slow movement is
certainly rich in harmony, and expressive, but the other parts are
deficient in air — in clear, intelligible air, — ^and there is a dryness
in it, considered as a whole, that will prevent its ever becoming
popular. Such a performance, however, must give a certain de-
gree of interest to any composition of a legitimate kind.

We have spoken of Beethoven's quartet in our account of the
second Concerto da Camera (page 19), and as no new light has
since broken in on us, we see no reason to alter a word of what
we have already said on the subject.

The quintet of Spohr was admirably played by the whole party,
by Madame Dulcken especially, whose conception of the author's
design was very correct, and her execution most spirited. .

Haydn's quartet, — ^the second of the opera — is the great and
only rival of the third of his Op. 76. Indeed, but for the hymn
and variations in the latter, we should at once give the palm to
that in Op. 80. Every movement is perfect ; every note precious.
The opening is so melodious, that it invites the companionship of
beautiful poetry :—

Still iriore vocal is the lovely Andante in d. And the trio, in
B flat — following a briliant minuet in f — ^is music that seems of
little less than celestial origin. Then, it must be added, the per-
formance of the whole was so admirable, that it would have im-
parted a charm to a much less perfect composition.

The sonata of Corelli found admirers in all quarters of the
room. The last movement was loudly encored, but the per-
formers were unwilling.

Mrs. Shaw's voice is exactly suited to the fine pathetic air of
Winter. She san^ it remarkably well ; though it appeared to us,
who recollect Mad. Grassini in this, that she was too sparing of
embellishment. This certainly was erring — admitting it to be
an error — on the right side; but chasteness maybe earned to such
a length as to become coldness. Mrs. E. Seguin, in Mozart*s
scena, has before come under our notice. Our opinion remains
the same Mr. Balfe gave the splendid aria, < Vedrd mentre io
sospiro,' in a most correct, spirited manner. His ' Madamina,'
a list of the Spanish Don's conquests, was excellent. And, alto-
gether, the concert was most perfect of its kind ; an opinion which
seemed to prevail generally.

SECOND CONCERT, THURSDAY, MARCH San.

Part I.
Quinteit, in b flat, for two violinf , viola, Tioloneello, and contra-

basso. Messrs. Mori, Watts, Moralt, Ltndley, and Sigoor Dra-

gonetti .••••••••• OKSfiOW.

Air, Miss Woodyat, Yarieo to her Lovtr Hoimsl.

Quiat«tt, for piano-forte, violin, viola, violoncello, and contiarbasso.

Messrs. Neate, Mori, Moralt, Lindley, and Signor Dragonetti • Dussbx.

Canzonet, Mrs. K. Seguin, FtdeHty Haydn.

Quartetto, No. 2, in b minor, (dedicated to Count Rasoumoffsky),

for two viiilins, viola, and violoncello. Messn. Mori, Watts,

Moralt, and Lindley •••••••• BBBmovnf.

Part II.
Freludio e Fuga, piano-forte, and eontra-baaso. Mr. W. Beale,

and Signor Dragonetti J. SsBAanAN Baob»

Aria,Mr.Briui,< Delia vita.' (fVifr/ie) Bbbthovbr*

Tersetto, Mrs. E. Seguin, M'iss Woodyat, and Signor Giubilci,

* Soave sia il vento.' (Coti/tm tutte) Moeart.

Oitetto (Third and Fourth Movements), for four violins, two violas,

violoncello, and contra-basso. Mesms. Mori, Watts, Tolbecque,

Watkins, Moralt, N. Mori, juu., Lindley, and Dragonetti

MniBBLSSOBM-BARTHOLIir.

Onslow's quintet in E flat, though admirably played, produced
little effect It certainly is not captivating. The quintet of Dus-
sek, in f minor, delighted the audience, whether connoisseurs or
those who only know what pletues them, according to the phrase
adopted by unlearned lovers of music. Dussek too oflen^was
obliged to compose with a view to immediate profit, hence, though
ueany all his works display genius, he sometimes produced wmit
seemed trifling : but when he wrote for fame, — ^when he felt his
future reputation at stake, none excelled him in invention, gran-
deur, and taste. Beethoven's quartet was the very perfection of
playing. The fugue by Sebastian Bach is one of the Grand
Studies for the Organ, lately printed in this country, at the ex-
pense and risk of Sig. Dragonetti, in which the pedal notes are in
constant use. These were now played on the double-base^ in
Dragonetti^s wonderful manner: and Mr. W. Beale, in the piano-
forte part, left us nothing to wish.

Miss Woodyat, in Hummel's sweet song, Mrs. E. Seguin, in
Haydn's deeply impressive canzonet, and Mr. Brizzi, in Beet-
hoven's fine aria, demonstrated that good music, though sung by
singers of the second class, affords ten times more pleasure than
that of an indifferent kind, though sung by vocalists of the highest
reputation.

T£^IRD CONCERT, THURSDAY, MARCH IOtb.

Pari I.

Quintet, in d major. Op. 18. For two violins, Tiola, violoncello,
and contra-baitto. Mestra. Mori, Watis, Moralt, Lindley, and
Draffonetti • . • . ONtLow."

Aria, Miss Clara Novello, ' Ave Maria,' (accompanied on the
como-bassetto by Mr. WiUman) . • • • • Chbruboo.

Trio, ptano*forte, violin, and violoncello, Ifesirs. W. S. Bennett,

Mon, and Lindley . . . . • . Humkbl.

Duett, Mist Clara Movello, and Mr. Parry, jun., * Dearest, let thy
footsteps follow.' {PoBtBt) • • • • • Spobji.

Quintett, in o, for two violins, two viulas, and violoncello. Messrs.

Mori, Watts, Moralt, Lyon, and Lindley • • • Bebtbotem.

Part II.
Trio (by particular desint), for violin, violoncello, and contra-bssso.

Mebsrs. Mori, Lindley, and Drai^onetti • • . . Hanbbl.

Aria, Miss Raioforth, 'Dove sono,' (ber second appearance in

public) • • • • • Mozart.

Quintet, for clarionet, two violins, viola, and violoncello. Messrs.

Willman, Mori, Watts, Moralt, and Lindley • . Mobart.

Aria, Mr. Parry, jun., * 11 Pensier » . . . Haydk.

Double Quartet (two movements). No. 2, for four violins, two

violas, violoncello^ and contra-basso. Messrs. Mori, Watts,

Richards, N. Mori, jun., Moralt, Lyon, Lindley, and Dragonetti Spobr.

This concert opened with a very clever and pleasing quintet by
Onslow, one of the most popular in style of all his compositions.
The trio of Hummel, a charming composition, was charmingly
performed. The young Bennett, who undertook it at the shortest

THE MUSICAL LIBRARY.

jpoNible wstite, played ^th a fimmeaB and taste * that are
generally the result only of long experience. The favourite
quintet of Beethoven delighted everybody, as usual : but it is not
uways heard to such advantage. Handers trio— or, as the com-
poser calls it, his Sonata Quinta — in o minor, was as pleasing as
surprising. Only the larghetto and allegro, the two first move-
ments, were given, and the audience would willingly have listened
to bodi a second time. The quintet of Mozart is very little
luiown, but so elegant a composition being rescued frcmi obscu-
rityi — (how oame it to remain there so long?)-^will be heard
•everywhere ; that is, where the inimitable WiUman can be had to
take the principal part

Miss U. Novello sang Cherubini's gentle aria, or hymn, simply
and most charmingly. None can give more effect, few so much,
to Haydn's lovely air, as Mr. Parry, jun. : it is exactly calculated
for his most musical voice and delicate style. The duet between
hun and Miss C. Novello afibrded much pleasure, and was warmly
applauded ; for t}ie company at these poncerts consisted chiefly,
if not wholly, of those who know how to appreciate good music —
of those who look neither at the date of the work nor name of the
author, bi4t judge it by its intrinsic merits.

So successful has been even a second series of these eoncerts,
that the same parties have resolved to give a third, which will
have commenced before our present Number is published : and no
doubt of their filling seems to be entertained. Classical music is
ntpidly progressing, to use a favourite word of our transatlantic
friends, and is fairly beating the ultra-modem Italian opera out of
the field., ;

QUARTET CONCERTS,

Hanover Square Rooiis.

The party that instituted the Concerti da Camera, encouraged
by .the success of the first attempt of the kind in this country,
intended to give a second series, but the announcement of the
CoAMBER Quartet Concerts deterred them from proceeding in
their design. A performer, however, .who feels his strength as
Mr..Blagrove must do, is unwilling to yield; this very skilful

1 artist therefore united with three others, — Messrs. Gattie,
o, and Lucas — ^and advertised four concerts under the
above title, at a subscription of one guinea for the whole, the
first of whidi took place on Thursday, March the 17th, and of
which the following iff the program : —

^Quintet in f minor (Op. 32), two violins, viola, violoncello, and

double bate. Meam. BHagrove, Gattie, Daodo, Locai, and

jfioveU • Ohilow.

Recitativo ed Aria, ' Per Pteti,* Mrs. Bishop ; accompanied on

the piano-forte by Mr. Moscheles ..••'•. IIbktrovxn.
^naitet in a flat (Op. 76), two violins, viola, and violoncello.

liaeirt.Blagrofe, Gattie, Dando» and liucae • • • • Hatdm.

Paxr II.
T^ In B flat (Op, 14), piino-forle, elarinat, and viola. litMn.

Mosch e lee, WiUmani and Dando • • . • • • • MosARTt
Alfa, <I1 Pensier,' Mr. Balfe (Or/eo ed Eurydice); accompanied

on the piano-forte by Mr. Moscheles • • • • • HAraif.
Qoartet in s minor (Op. 59, dedicated to Count RaaoumoAky),

two violins, vi(^ and violoneella Hetntt. Blagiov«, DaaoOy

Gattie, and Lucas BsniHOvaii^

The whole concert was of a highly finished description, and
most gratifying, whether as regards selection or execution. We
were present at the premier coup'cFarchet, and remained till the
last note, regretting the termination of a performance in every
way so satisfactory.

In Onslow's quartet in f minor, we find clearer melody^ more
invention, than in most of his compositions. The studious man-
ner in which he writes — for his fortime allows him plenty of
'komcid leisure* — is not -less apparent here than in Lis other
works; but a good deal of fancy is united to labour, and the
quintet is rendered proportionately pleasing. Haydn's quartet,
less known than the second and third of the same opera, is
hardly inferior to them. In elegance and ingenuity it cannot be
surpassed, and we never heard it executed in a more refined
manner.

The Trio of Mozart is a p^ect geim* ; and so performed, it
proved a jewel in the finest setting possible. Mr. M^oscheles was
imbued with all the spirit of the composer, and he could not have
been better supported. Beethoven's quartet in b minor is^ in our

* For the Minuet and Trio of this, arran^ for the piano-foHe and flute, see
vol. I., page 1 14, of Musical Libraiit. The few introductory bars are taken from
fife first movement, hut transposed, for a reason that mnsi be obvious**

Opinion, the best and most pleasiiig of fhfe thfee ^^fateii^ ndt
many years ago, were generally thought unintelligible, if tk)i im-
practicable ! How original the first movement ! How tranquilly
grand the opening of the adagio ! and how unexpected, hair
new, every bar of the finale ! It would seem gay, but the gaiety
is tliat of one who has a secret, ill-dissembled sorrow. It is,
we have no doubt, a true reflex of the composer's mind at the
moment he wrote the quartet.

Mrs. Bishop sang the entire scena, ' Ah, perfida! spemurs^!'
of which the exquisite movement * Per piet^ non dirmi addio !* is
the aria*, and sang it remarkably well. The admirable aocoo^
paniment, by Mr. Moscheles, cannot without injustice be passed
unnoticed. Haydn's 'II Pensier' will always please, and was
now given by Mr. Balfe in a most correct manner.

ROYAL ACADEMY OP MUSIC.

The public performances by the pupils of this Academy com^
menced on Friday morning, March 11th, at the Hanover Square
Rooms, with k concert consisting entirely of what is called
classical music. We are thankful to the committee of managers^
and certainly the students will hereafter be grateful to them, for
their determination to discourage the flimsy and fleeting composir
tions of the imitators of Rossini^ and for the countenance they are
now exclusively giving to what alone can form the taste and
strengthen the judgment of the pupils under their protection.

The first part included Beethoven's 8th Symphony; Hummel's
Septuor ; a song from The Creation ; HandeFs ' Dove sei7* adapted
to the sacred words * Holy 1 holy !' Haydn's canzonet, RecoUee^
Hon; a fugue of Seb. Bach, with Englisn words set to it; and a
chorus from Mozart*s Davide Penitente.

The Second Part consisted of the whole of The Mount cf
Olives, which was performed in a most extremely creditable mu^
ner. We were particularly pleased with Mrs. Smith in the first
recitative and air, and with Miss Dickens and Mr. Burnett in the
duet, ' O, Father.' The choruses were full, and the performance
altogether showed the advances, particularly in the orchestral de-
partment, making by these youthful aspirants to musical fame.

FOREIGN MUSICAL REPORT.

BERLIN.
On the 80th of November, at Ries' soir^, M. Taubert played, in a
raasteriy style^ Beethoven's sonata in f minor; and the quartet playen
excellently performed a quartet by Onslow, in e minor, and one by
Mendelssohn, in b major. We must not pass over a concert giv^ii
shortly afterwards by M. Blum, at which a variety of vocal pieces, se-
lected from approved operas, and unknown here, were sung with the
greatest applause ; nor one given by Madlle. Ottavo (thirteen years
old), and August MOser (nine years old), at which the two little violin-
ists vied with each other in a manner truly laudable. An oldish
symphony by Beethoven, an overture by Weber, and the Pastoral
Symphony, were played at M dser's soir^, about the middle of December.
On the 16th the anniversary of Beethoven's birth-day was celebrated,
first, the overture entitled, Zur Weihe des Hauses (to the Consecration
of the House) was performed. Then M. Taubert played the coaceito
in E major, very beautifully ; his tender execution of the adagio deserves
especial mention. The whole concluded with the fourth symphony^
played with much fire, yet not with all the exactness which the
work requires. Shortly afterwards, a grand Oratorio by Neukomm,
Da$ Oesetz des alien Bundes (the Law of the Old Covenant), was
played at the Vocal Academy. There is considerable beauty in this
work, and it everywhere displays the skilful composer, — ^particulaiiy a
fugue of three subjects. However, it lacks the proper church-style ; the
interest for sacred musk; seems not so much to have sprung from Htm
depths of the composer's heart, as to have been excited by external cir*
cumstances. Nevertheless, it is an honourable composition.

On the 14th of Januarv, the Vocal Academy performed Klein's oai«
torio of David, The choruses were excellently filled, and told ex^
cellently well. This work, so nobly conceived, and wrought with so
much more technical skill than any modem composition, made the deep-
est impression.

Theatrical Music.-^KhovH the beginning of December, the opera ot
Cortex was performed at the Theatre Royal, in which H. Bader iea[^
peared. The natural powers of this shiger are exhausted ; in spite of
alj his laudable zeal and exertion, which indeed was acknowledged wi^
lively applause bv the benevolent part of the house, he will never again
be truly successnil On the 11th. ^ new aingy, M^Kraose, an ei^

^ This Aria ii giTen in yoU L, page 146> of Tarn Musxoal hmsLkax.

THE JIUSIGAL LIBRilKr.

itkJ090phin MgffpL Tbit part wu not well Miected for a dilnU^ but
the opera was brought to such a pass, that nothing else with a base
part oould be produced. After ChrislnMa, Madlle. Pixis appeared, for
the second time^ as Rotina, in the Barber of Sevith ; she was the star
of the theatre. The twin-star was the performance of Oheron^ in which
IfadUe. Lens reappeared after a long illness. Her part» however, did
not suit her« being better adapted to Madlle. Lehman.

The new year commenced with the performance of Zamberfioie^ in
Which M. Botticher (formerly in the orchestra) took the part of Saratiroh
lie displayed a fine, powerful voice, and gave considerable promise.
On the 1 7th of January, Madlle. Stephan appeared as Fidelioy and we
rejoiced to think, that by her presence we might now be enabled to bring
out something like grancl operas. However, the studying of parts,
which require reflection from the greatest artistes, must not be hurried ;
the songstress' task was* evidently too much for her. Towards the
middle of the month, Madlle.Hagedon made her debut as Head Priesiesst
in the Vestal. She has a beautiful though not powerful voice, and an
imposing figure.

VIENNA.

'. On the 29th of November, the society of Friends to Music in the
Austrian Dominions^ gave their first concert of the season. It began
with tiie first movement and the scherzo, from Beethoven's symphony
in D minor. We had always regarded these symphonies by Beetnoven
as complete musical pictures, and hence, could by no means approve
the playing of some parts, and the omission of others; indeed, the per-
formance itself was not worthy of the composer* Whoever could listen
to a duet by Rossini, after a symphony by Beethoven, might have felt
some pleasure in hearing one sung by MM. Kreipl and Mellinger. A
chorus from Handel's Messiah carried its own recommendation with it ;
and some variations, comf>osed by Procb» and played b^ him on the
violin, formed a brillani piece, which called for, and obtamed applause
from all hands.

On the 6th Dec, Mad. SchrCder Devrient, having recovered from a
severe illness, appeared at the Hofopfem Theater^ as Romeo^ in Bellini's
Cctpuleti e Montecchi.

To the real lover of art, has the house of the celebrated musical his-
torian, M. Hofrath Kiesewetter, been open for many years, where are
played such works of the ancient church music as are adapted to a cul-
tivated taste alone. Towards the end of December, we heard there a
mass and a motet by Sebastian Bach. In listening to the compositions
of this learned genius, this Iromanuel Kant of Music, one is penetrated
with a genuine religious feeling, as well as astonished at the boldness
of the harmony. The solos are very original, as the accompanying
instruments seldom serve as a guide to the voice, but pursue a course of
their own. A question obtruded itself upon us : Will posterity a hun-
dred years hence listen to a composition of the present times, as we do
to one by Sebastian Bach ?

M. Bocklet, at his second concert, played Hummel's charming con-
certo in A, and a new Concert fantastique by Moscheles, which has not
yet appeared in public ; this is a very original work, which, with the
elception of some bizarre turns at the begmning, is formed into a very
imposing whole. Critkism on the performance would be vain ; Bocklet
always plays like a master, and never can do otheriwse.

On tiie 8th of December, the director of the Church-Music-Union
gave a grand Academia in honour of Haydn, Mozart, and Beethoven.
Such great masters are best honoured by the performance of their own
works, but these must be played in a manner worthy of their composers,
and the performance must be perfect in all its parts. Such, alas ! was
not the case with this Academia^ for it went off worse than we could
possibly have expected. True, such negligence casts no discredit on
the composer, but then it reflects a world of dishonour on the musicians,
and, most of all, the director*.

JENA.

Our last musical jrear was rich in events, and passed off well. The
usual six Academic concerts afforded opportunities of hearing sym-
phonies by Beethoven (in b and a mi^^or, the last twice by particular de-
sire), Ries, Mozart (o minor), and Kailiwoda (No. 3). The first of the
series of foreign artistes Was M. Professor TOpfer, of Weimar, well known
as a skilful pianist, and still better as an organist He begign his career
with Beethoven's concerto in c minor. His own brilliant, well-wrought
though somewhat lengthy trio, in which he was excellently accompanied
by MM. Gutze and Apel, members of the Weimar Kapelle, left nothing
to desire, as far as execution was concerned. M. Apel delighted us by
his admirable performance on the violin of a pot-pourri composed by
himself. As a well-known constant ^est, appeared M. Schubart, the
flutist, who with applause played variations by Scbttnfeld, as well as a
r«ndo alia poiacea for two flutes by PrOfer, with his very promising
pupil M. Kuhnt. Then we had M.GOtze, jun., and M. Montag from
Weimar, who may be called the darlings of the public. The latter
played with great skill and expression a concerto by Kalkbrenner, and
with M. GOtze, Beethoven's powerful Kreifta^r-Sopat^ M. QOjt^e m^

* For a trantlatton of the Fkobgnt Bfc^n at this Aot ^mi B, vide pags 69^—
SoiToa.

with tnnraituooa applime, not pnly m a violtnist but ako^ aa a __

The same deserved good fortune befell M. Aght* wk^layed Ms

oompositioDS, as well as some by others on the clario;iet A pot-p

by Weber waa pkyed on the violoncello in such style, thai one oonifi
scareely have imagined that the performer was an amateur. This dilel*
tante was M. Bruns, a theological student, who, by Ma very tasfeefbl jper»
formance, contributed much to the pleasure of our evenings. M. TTnia,
a young Italian, played on the piano^forte a fantasia by Kalkbrenner,
avid a rondo briliani by Hummel> whose pupil he is. A new proof that
this excellent master's solid school, to which eMmtless pupils asw
thronging from all quarters, is becoming admewledi^ in a spkece
which gradually increases.

Grander comjxraitions of several kinds were pefformed by the Ao»*
demic Vocal Union, the most important of which was the Ostermoryen
(Easter morning), by Tiedge and Neukomm, which was on the whole
so excellently done as to awaken in all the lovers of music a' desire to
see the Academic winter concerts often enriched by such gifts. Most of
our extra concerts were particularly good,

M. LOwe, whose Apostle of f^lippi had already received the
applause of all the connoisseurs here and at Weimar, and whose
choruses (particuhirly those of the Christians) had made a powerfilim-
pression on the pubhc at large, gave, before his departure, and at the-
request of many, a musical entertainment, in which lie absohitely en*
chanted the public by his- perfect performance of bis own ballads.

Our orchestra, on the whole, played most of the iastrumeDtal cost'*
positions, particularly those by Beethoven, better than we oould have
expected, from the small number who were paid^

DRESDEN.
On the 23rd of November, the new hall of the HOtd de SasM waa
honoured by a concert under the direction of BL FfUatenau, and amaged
as follows. 1. Mendelssohn Baxihoidy^s Meeresstille und gl&cklieh^
Fahrt (Calm Sea and Prosperous Voyage). We must confess that thia
did not produce the effect we had anticipated from the brilliant aocoanta
from Leipzig. 2. An introductory jpoem by Theodore HelU spokea
by Madile. Bauer. 3. A concertino for the flute, composed and played
by M. FQrstenau. The composition was interestinff* the execution
briliani, 4. Aria by Pacini, sung by Madlle. Sabina Heinefetter. Ne-
aria at all, but one of those adapted violin variatu>na wluch have beea
sang by every bravuress since the days of CatalanL The public were-
delighted, and called for an encore, which call the young lady obeyed*,
and sung even better than before. She has a magnificent voice, and a
fine method. Her depth is wonderful, and her delivery enchanting*,
provided she does not give an overplus of force. It is too bad that s&
sings such mere display-pieces. A song ahould, while it uttess words^
express feelings; but we should like to know what feelings can be
excited by such stuff as the foUowmg, which might be executed best by^
a musical snuff-box, because it has no soul :^-

Second Act. 5. Introduction on two flutes on a theme from Robert
the Devil, composed by Ffirstenau, played by him and his son a^
eleven years. 6. Das Waldvoglein (the Woodbird), a song, with^
bugle obligate by Lachner, sung by Madile. Heinefetter, accompanied,
by M. K. M. Haase — ^an unimportant piece, which passed off without
producing any effect. 7. Fantasia for the piano, accompanied by
orchestra and chorus, by Beethoven, played by M. Schneider in a
manner worthy of his reputation. 8. Variations on the violin by Beriet,
performed by M. Winterstein — A beautiful composition, beautifully
executed. 9. A Duet by Morlacchi, sung by MM. Zezi and Vestn.
10. Adagio and Variations from Preciosa, composed and played by M.
Ffirstenau. Very brillant i

ITALY.

The following is a list of the performers who will appear at the principal
theatres in upper Italy at the ensuing Carnival, extracted firom a Milaa
paper.

Milan. Teatre alia 8aUa» Opera: Prima donnas. Mad* Malibia%
Mad, Sdioberiechner. First Tenors, M. Poggi, M. Beiua. First
Basses, M. Marini, M.. Marcolini. : Operas to be performed : Doni*
zetti*s Maria Sltuvrtt Bellini's PurUani, Vaccai's Giovanna Qraiy. com-
posed purposely for the present company. Ballet: composer^ M. Me*
rosinL First dancers, M. Rosier, Madlle. Saint domain. First Mimee»
Mad. Pallerini, Madlle. Colombon, MM. Ronzani, Bocci, Trigambi^
Caaati. Grand. Ballet : Bianca di CasUglia. Minor Ballet: LIsoU.
\deiP&rtentL (The Isle of Wonders.)

Bergamo. Opera : Prima donna, Madlle. Melas. First Tenor, M.
Regoli. First Basso-serio, M. Negrini. First buffo, M. Trezzolini.
Operas to be performed: Nina paxxa per Asmre^ by Coppola ; LEliiir
df Amore; the third yet undetermined.

Cremona; Opera: Prima donnas, Madlle. Vittadini, Mad. Caiamari
Maggiotti. First Teaor, IL' de Gattis. First Basso-serio, M. Valli.

72.

THE MUSICAL LIBRARY.*

first buffo* M. Venetti. Operas to be performed : Norma; Coppola's
Nina pcuza per Amove.

Crema. Opera : Prima donna, Madlle. Casanova ; first comic, M adile.
Leva, first contralt. Mad. Schiroli. First Tenor, M. Cerioli. First
Basao-serio, M. Lodetli. .First buffo, M. Desiro. First opera, Doni-
seui's Anna Bolena.

Manhuu Opera: Prima donnas, Madlle. Blasis, Madlle. Viale.
First Tenor, M. Mori. First Basso-serio, M. Bigamonti ; first buffo,
M. Galli. Operas to be performed : // Piraia, by Bellini ; Nina pazza
per Amove ; and Norma,

Verona. Opera : Prima donnas, Mad. Ferlotti, Mad. Carraro. First
Tenor, jyi. Tatti. First Basses, M. Bottelll, M. Berini. The operas to
be performed are yet undetermined.

Twin* Opera : Prima donnas, Mad. Grisi, Madlje. Giacosa. First.
Tenor, M. Donzelli. First Bass, M. Schober. Tlie first opera will
be GP Illinesit composed by Coppola for this company.

Oenoa. Opera : Prima donna, Madlle. Palazzesi. First Tenor, M.
Paganini. First Basses, M. Giordani, M. Coletti. The operas will be
Bos8ini*s Mose^ and Bellini's Puriiani.

Parma. Opera : Prima donna, Mad. Boccabadati. First Tenor, M.
Pedrazzi. First Basses, M. Varese, M. LeL The first opera will be
/ PuritanL

Picenxa. Prima donnas. Mad. Ferron, Mad. Scheggi. First Tenor,
M. Milesi. First Basso-serio, M. Botticelli, first buffo, M. Scheggi.
The first opera will be Beatrice Tenda.

Modena. Opera : Prima donna. Mad. d' Albert!. First Tenor, M.
Pompejano. First Basso-serio, M. Leonardi, first buffo, M. Fontana.

Rome, Teatro Apollo. Opera : Prima donna, Mad. Schiltz-Oldosi.
First Tenor, M. Basadonna. First Basses, M. Zuchelli, M. Marini.
The first opera, Persiani's Ines de Castvo,

Boloma, Teatro Ccmunale, Opera : Prima donna. Mad. Gabusi.
First l^nor, M. Zamboni. First Basso-serio, M. Constantani. First
huth, M. Vaccani. The first opera, Nina pazza per Amore,

Ancona. Opera : Prima donna, Madlle. Marchess!. First Tenor, M.
Tincolini. First Basso-serio, M. Ludovici ; first buffo, M. Cipriani.
The first opera will be // Furioso^ by Donizetti.

Naples. Teatro sctn Carlo. Opera : Prima donnas. Mad. Ronzi de
Begnis, Mad. Tacchinardi-Persiani, Mad. Duprez. First Tenors, MM.
Duprez, Mariani, and Salvi. First Basses, MM.Coselli, Ranconi, and
Porto. Ballet. Composers, MM. Henry, Taglioni, Samengo, and
Guerra. First Dancers, MM. Petrot, Guerra, and Mattis ; Mad. Brug-
noli-Samengo, Mad. Mattis, Madlle. Grisi. First Mimes, Mad. B.
Samengo, Madlle. Pompei, Madlle. Grisi, MM. Biancbi, Bolognetti,
Coppini, and Ottavo. (Operas not yet named.)

Palermo. Teatro Carolino, Opera : Prima donnas, Mad. Demery,
Jkfa'l. Franceschini. First Contralt. Mad. Santolini. First Tenors, M.
Ant(^nini, M. Santi. First Basses, M. Baroilhet, M. Antoldi. (The
operas are not yet named.)

Florence. Teatro della Pergola. Opera: Prima donna, Mad.
Borili. First Tenor, M. Piatti. First Basso serio, M. Leont. First
Buffo, M. Galli. — Teatro Goldini, Opera : Prima donna. Mad. Cor-
Tadi. First Tenor, M. Mombelli. First Basso serio, M. Zucchini.
First Buffo, M. Lauretti. The first opera will be // Falegname di
Livonia^ by Pacini.

Siena. Opera: Prima donna. Mad. Lucii. Urst Contralt. Mad.
Suddetti. First Tenor, M. Antonelli. First Basso serio, M. Feretti.
First Buffo, M. Placci. Operas to be performed are / Novmanni, La
Parisina, and // Furioso,

Lucca, Teatro de Oiglio. Opera: Prima donna, Madlle. Aman.
First Tenor, M. Mazza. First Basso serio, M. Ronconi, first Cam-
Jbiaggio. Operas to be performed : Torquato Tasso and Gli Espdsti.

THE DRAMA.

Since our last report nothing has been produced at our English theatres
that calls for any particular notice, except Herold's Zampa, which,
under the title of The Corsair^ was brought out at Dburv Lank, on
Saturday, March the 19th ; but the Italian opers, and many concerts,
so entirely occupied the short time our printer could afford us, that we
had no opportunity of hearing it. We shall notice it in our next ; as
well as the adaptation of it at Covbnt Garden.

At the St. Jaubs's Theatre some new short pieces have been suc-
cessfully brought out, in which humour was more the object than music.
The Siege of Belgrade has been revived, for Mr. Braham, and proved
exceedingly attractive. The Begaav*s Opera^ too, has been performed,
in which Miss P. Horton, as Polly ^ appeared to great advantage aa a
smger. She is one of the most promising vocalists now on the stage.

8ig. Cartaokicota.
Mod. CollbonkCobtt.

The season here has b^en' a very profitable one, iboogh at the com-
mencement the public were apprehensive that the theatre might prove
damp.

King's Theatre.
This theatre opened on Tuesday the 5th ultimo, with Bellinrs opera.
La Stranieray which never did, and never can, succeed in London. It
now had even less chance tlian on any former occasion. But the new
singers who filled the principal parts, we shall presently notice.

On Tuesday, Marcn 19th, was performed, for the first time here,
Beatrice di Tenda^ a tragic*opera, in two acts, by Bellini. It is thus
cast : —

PAiA> fTwoff /I, Duke of Milan • • •
Beairice Tenda, hit coniort • • . •
Jgmete dei Maim, beloved by Philip, but secretly bving > y^^ Sbouir

Oiombello .•.••••)
Orom^iio, Lord of Ventimifflia . • • • Sig. Wimtbr.
AmcMmo, £nend of OroxnbelTo • • • • Sig. A. Qivbilbi.
Scene, the CatUe ofBiaatco. Period, ike year 1418.

Tills should have been entitled, La Virtii punita^ e la Crudelta trion-
fante^ for a more perverse, wanton abnegation of all justice — a more
scandalously immoral drama, never was suffered to be represented on
this or any other staffe in Europe. If the licenser did not read it, he
neglected his dutv : if he did, he betrayed his trust The foJiowiDg- is
the story, at which savages would revolt:—

Philipf raised to the dukedom of Milan by his marriage, afterwards
becomes enamoured of Agnese, She secretly loves OvombeUo^ who
entertains a passion for Beatrice^ the duchess. Philip^ a kind of
Henry VIII., determines to sacrifice his wife ; and Agnese^ finding that
Oromhello is elsewhere attached, in revenge plots the ruin of him and
Beatrice, She accuses both of a criminal intercourse. They are put
to the question ; racked ! Orombello, to avoid further suffering, admits
the justice of the accusation. Beatrice^ supported by conscious virtue,
denies the charge. Each is again tortured ! Oromhello, however, now
retracts, and proclaims the innocence of the duchess. Even Agnese
feels remorse. The accused, however, are tried by certain judges ; of
course found guilty. The duke signs the death-warrant of his noble-
mind^ wife ; she is led to execution, and the marriage of the murderer
with Agnese is supposed to follow.

Such a story was patiently listened to in this lip-religious age ! Let
us hope, however, that few understood a single syllable of it The pro-
bability indeed is, that not one in twenty present had the most remote
idea of what was meant by any scene. The claoueurs in the pit, — such
a set we never before saw assembled ! — like judges in the opera, came
to determine, not to hear.

The music is unworthy of criticism : as noisy as fashion can wish.
Turkish instruments and drums are in almost every piece. Tlie Intro-
duzione^ on a very pretty subject, led us to hope something, but every
subsequent scene diminished this hope. The short trio, * Angiol di
pace*,' which occurs quite at the end of the opera, is the only thing
which can be favourably mentioned, with the above exception. The
claqueurs did not even attempt an encore, from beginning to end ; and
at the conclusion, they alone brought their hard hands into noise-making
collision.

In the character of Beatrice Madame Colleoni-Corti made her debut
With a shrill soprano voice, and a style which at the Olympic we should
have thought a burlesque of the vagaries of Italian singers, she must not
flatter herself with any hope of success here. Signer Cartagenova,
who has a high, but real base voice, would be a respectable singer, did
he not bawl so outrageously. Bating this, his style is not vulgar, his
person is much in his favour, and his action free from any glaring fault
We cannot bestow the same praise on Signor Winter, who is the same
that appeared three or four years agot. His voice is manly, and of
good quality. But he, too, shouts like a bellman. Though with such a
figure, and such a deportment, the finest singer would find it difficult to
conciliate the public.

When we add, that the first general rehearsal of this opera was on
the Friday preceding the Tuesday when it was brought out, we need not
add that the performance of the choruses, &c., was anything but what it
ought to have been.

The scenerv, decorations, &c., were quite in keeping with the host of
claqueurs in the pit ; not in number, but in appearance.

TO READERS AND CORRESPONDENTS.
%• The Review of Mittic,«nd other erticlei in type, are neceistrily defeired till out
next The unexpected quantity of tenporaiy matter leuden this poetponemebt
neceseazy.

• Printed in the present Number of Tbb Muiioal Libiuiit.

t Sir Midof him, attheOpera— 'Nowis the .Winter of

our discontent.'

LONDON: CHARLES KNIGHT, 22, LUDGATS STREET.

Panvnat mt W» CLOWES aim SONS, Dvu SraasTi Lambktb.

MUSICAIi lilBRARY.

No. XXVI. MAY, 1836. Price Sixpence.

The Music of* Part XXVI/ 73*

Ecclesiastical Choirs of Great Britain & Ireland 75
The War of the Concert Rooms • • • . 75
Musical Festival in Exeter Hall . • • • 75

CONTENTS.

Page

Philharmonic Concerts • 77

Vocal Society ••••....• 77

Classical Chamber Concerts 77

Quartet Concerts 78

THE MUSIC OP PART XXVI.

Am,

' Quanta e hello VAmor Contadinol' with variations — (Page
121).

The subject is RachelUna^s response in the quintet beginning,
'II villan che coltiva il giardino/ in Paisiello's very charming
opera-bu{fa> Zai Molinara, Beethoven wrote seven variations
on this, of which we have chosen five of the cleverest and most
pleasing.

March— (Page 126).

From Weber's Concert Stuck (Concert Piece), a work daily
becoming better known, and of which this military movement is,
unquestionably, the- most original and striking portion.

Introduction and Pastorale — (Page 128).

A delicate composition — here slightly abridged — ^by Louis
Berger, a favourite pupil of Clementi, who visited this country
some years ago, and performed in public with success. He after-
wards settled at Berlin, where we believe he is still living.

Chorus— (Page 132).

Commonly called The Nightingale Chorus, from Handel's
oratorio, Solomon. The author s flute part is here preserved in
an almost unaltered state, and, it is unnecessary to say, is an im-
portant addition ; though the piano-forte arrangement produces
a very good effect independently of the accompaniment. The
following are the words of the chorus, which is sung as Solomon
and his queen are retiring from the scene : —

May no rash intruder disturb their Boh hours !
To form fragrant pillows, arise, O ye flowers !
Ye zephyrs soft- breathing their slumbers prolong.
While nightingales lull them to sleep with their song !

Who wrote this drama for Handel does not appear. In the
list of oratorios by Dr. Morell, Solomon is not included ; it is fair,
therefore, to presume that he had no hand in it.

Chorus— (Page 136).

From the censer curling rise

Grateful incense to the skies :

Heaven blesses David's throne ;

Happy, happy, Solomon !
Live, live for ever, pious David's Son !
Live, live for ever, mighty Solomon !

The grand double chorus, or chorus for two choirs, from the
same oratorio as the preceding. The false concord in the two
first of the above lines seems to have escaped notice ; at least the
bad grammar has never yet been correct^ We would propose
to substitute odours for ' incense,* but know, by experience, how
hopeless the endeavour to reason on such subjects with most
musical men.

Royal Academy of Music .79

Review 79

Foreign Musical Report 83

Drama .. •...•*••• 84

Elegia— (Page 121).

Sotto la falce barbara,

Di non attesa morte,
Caduto e il cigno sicolo ;

Ahi! sventurata sorte !
Delizia dell' Italia,

Dali* uno all' altro polo,
Fama verace e rapida.

Per lui spiegava il volo.
Nov! trionfi cinsero,

II crine suod* allori,
E la real Lutezia

Gli aggiunse nuovi onori.
Ahi ! piangi Catsmia misera,

£ teco pianga il mundo,
Infln che un nuovo genio

A lui non sorga secondo.

SoNO— (Page 124).

An Address to a Locket,

Come, thou soft and sacred favour.

The remembrance chaste impart.
Take thy station on my bosom.

Lightly lodging near the heart.
While that tender lieart shall flutter.

Thou the secret cause shalt share.
Whether pleasure or disaster.

Thou shalt see what stirs it there.

When the hoi)e of happy tidings

Shall the sweet sensations move,
When the white and winged agents

Whisper friendship, whisper love ;
Then, all sympathetic thrilling.

Thou the rosy stream shalt guide.
While, as runs the ruddy treasure,

Thou 'rt the genius of the tide.

Haply, when this heart is sinking,

Thou slialt soothe the rising sigh ;
When with woe surcharged, 'tis beating,

Thou shalt see the reason why.
Come, thou dear and decent favour.

Learn what thou wilt ne'er impait.
Fix thy throne, and fix it ever.

In the regions of my heart.

The words are from Emma Corbett, a novel much read nearly
sixty years ago. The beauty of the music, by Dr. Arnold (see
page 26), will give a duration to these verses which their ia«
'trinsic worth could not have secured to thenu

Vol. in.

Glee— (Page 126).

Oh ! tarry, gentle traveller,
Oh ! tarry now at close of day,

Nor haste to leave these fertile vales
For lofty mountains far away.

THE MUSICAL LIBRARY.

Yon sun that gilds this village spire.

And gaily flings his parting ray,
Say, smiles lie not as sweetly o*er

Thy natlTe village far away ?

Ah ! waale not thm tfay fleeting day«

In alien lands and paths unknown,
Far happier scenes await thee back.

Which bounteous fortune made thine own*
Return, then, gentle traveller.

Return thee with the morning ray,
Nor leave again thy fertile plains

For barren mountains far away.

The music, composed by Dr. Callcott (sec vol. i. page 6), is
one of his Collection of Five Glees, published in 1801, and in-
scribed to the Duke of Kent. It is less known than many of the
aiAthor*s other glees for two sppranos and a base» but not iaferior
to any of them.

Duet— (Page 132).
UAfROur Timide.

If in that breast* so good, so pure.

Compassion ever loved to dwell,
O I pity the sorrows I endure,

The cause I must not, dare not, tell.

The grief that on my quiet prays.

That rends my heart, that checks my tongue,

I fear will last me all my days.
But feel it will not last me long.

From the French, by Sir John Moore, Bart. The song was
once ascribed, says Kitson, to Dr. Johnson, but ^ was printed as
Sir John Moore's in an edition of his Poetical Trifles, published
during his life.'

The music to which these words are adapted is from a Grer-
man opera, Fortunat mit dem Sdckel und fVunschutlein {For-
iunatus with the Purse and Wishing - cap), performed at Frank-
fort on the Maine, in 1832, composed by

XAVER SCHNYDER, OF V^ARTENSEE,

who is well known in Germany for many publications of consider-
able ability, and highly esteemed as a theorist, whose instructions
are much sought after by young aspiring musicians.

A Sprino-Song — (Page 134).

To the birds' glad songs I listen.

In the greenwood as they sing ;
On the meadows flow'rets glisten.

In the sunny light of spring.

Thus my heart with pleasure beams.
While my thanks to her revealing,
Who my soul with wealth is filling. —

So the poor grow rich in dreams.

Translated, by John Oxenford, Esq., from the following, — in
the old German — by Ulrich von Licteustein.

In dem Walde stisse T6ne

Singen kleine Vogelein,
Auf der Aue Blumen schOne

BlQhen gen des Mayen Schein.

Also blfllit mein hoher Mutb,
Im Gedanken ihrer GQte,
Die mir reich macht mein Gemuthey

Wie der Traum dem Armen that.

The music is one of Seeks Qesange, op. 19, by Feux Men*
jnELSSOHN. (See red. i. page 5.)

Song— (Page 136).

The owl is abroad,

The bat and the toad,
And so is tlie cati^a-iDOimtaia :

The ant and the nu»le

Sitbochinak^le,
And frog peeps out of the foontain*

This is from The Tempest ; not Shakspeare*s, nor that drama as
altered by Dryden and Davenant, but from a second metamor-
phosis, made by Garrick, and so performed at Drury Lane in
1756, when the whole of the lyrical poetry introduced by Shak-
speare in the play, also what was added by the bold innovators in
1670, together with the present song, — ^wnich does not appear in
what is called ' Dryden's Tempesf — was set by

* JOHN CHRISTIAN SMITH,

an excellent musician, who composed four oratorios and some
sets of lessons, besides The Tempest, and other works. He was
much connected with Handel, who bequeathed to him and Mr.
Stanley (the blind organist) conjointly, his collection of music,
which led those two to carry on the oratorios after the death of
the great composer in 1759. The present song, — (erroneously
ascribed to Purcell) and ' Full fathom five,' — ^which Smith had
the courage to re-set, and.succeeded-^will long continue to float
his name down the stream of time.

Song— (Page 138).

Henry cuIFd the flowret's bloom,
Marian loved the rich perfume,
Had playful kiss'd, but Prudence, near,
Whisper'd softly in her ear,
* Simple Marian, ah ! beware !
Toucn them not, for love is there V

From Rosifia, an opera, first produced in 1783, the touching sim-
plicity of which, and still more the charms of the music, have
kept, and will long keep, it on the stage. The drama was written
by

FRANCES BROOKE,

Wife of the Reverend John Brooke, rector of Colney, in Norfolk,

and daughter of the Reverend Moore. Mra. Brooke wrote

also the novels of Lady Julia Mandeville; Emily Montague,
&c. ; and among her dramatic works are The Siege of Sinope ;
Virginia; Rosina ; and Marian. She died in 1789, having
survived her husband but five days.

The music of Rosina is, nearly all, by Shield, but he intro-
duced into it two Scottish melodies, and the above air, which is
the composition of

ANTONIO- GASPARO SACCHINI,

a NeapoUtan, born in 1735, and educated under Durante, in the
Conservatorio di Santa Maria di Loretto, at Naples. So soon as
his education was completed, he received an invitation to Rome,
and became composer to the chief theatre of that city. He after-
wards furnished operas for most of the principal cities in Italy.
In 1769 he succeeded Galuppi as director of the Conservatorio
LOspedaietio, at Venice, where, among other singers formed
under hva\, was the famous Gabrielli. A tempting ofier induced
him to quit Venice for Stutt^ardt ; thence he proceeded to Hol-
land, and reached England in 1772. His first opera here was
Montezuma, which was eminently successful. This was followed
by PerseOf Tamerlano^ The Cid, &c,, all contributing to aug-
ment his fame. The cabals, however, of the King's Theatre
after a time proved equally injurious to his professional character
and fortune, and hastily quitting London in 1781, he went to
Paris, where he brought out two operas with no marked success ;
but collecting all his force, he produced his CEdipe, his master-
piece, which so firmly established his reputation m France, that
his name is, even now, never mentioned in that country but with
the utmost reverence. He died in Paris in 1786.

RocND— (Page 140).

Se placar volete amore,
Belle ninfe inamorete,

Imparatelo da me,
Nel contrasto amor si rende
Con chi cede a chi si sende

Mai si barharo non <$•

One of the Rounds — or Canoni, as the author calls them — com-
posed by ViNCKNZo Martini* (See page 2.)

THE MUSICAL LIBRARY.

THE ECCLESIASTICAL CHOIRS OP GREAT BRITAIN
AND IRELAND.

[Contijuud ftom pag« 6S.]

No. VI.— ARMAGH, IRELAND.

Thb city of Armagh is the ecclesiastical metropolis of Ireland,
and owes it origin and pre-eminence to St. Patrick, the acknow-
ledged apostle of Ireland, who built its cathedral and other reli-
S'ous edifices in the year 445. St. Patrick constituted Armagh
e mistress and metropolis of Ireland, fixing there the Primatial
See, of which he is generally supposed to ha^e been the first
bishop. But further information on the subject may be found in
Stuart's HistoriccU Memoirs of Armagh.

The cathedral establishment of Armagh was incorporated in
the tenth year of Charles I. by a charter drawn up by Arch-
bishop Laud, wanting certain lands (called Ballyboes) and
impropriations ror the continual performance of divine service.
The most curious, or rather flagitious, part of this charter, is, the
power it gives to the Primate of Armagh to act as his own visiter ;
or, in other words, to be judge in all cases whenever the inferior
members of the church may appeal against his authority, however
unjustly exercised by himself, his agent, or commissioner; and he
has the power to suspend, or even expel, any member of the choir
at his pleasure, — ^the injured individuad having no legal means
whatever of seeking redress ! After searching the records of many
other establishments of this kind, nowhere do we find such an in-
stance of clerical assumption ; but it is worthy of Laud, and of the
reign in which he was allowed to exercise otner tyrannies of the
most insulting, and grossest kind.

The establishment consists of a Dean and four Prebendaries,
four Rural Deans, seven Vicars- Choral, an Organist, and eight
Choristers, who perform divine service twice on Sundays, and
once on Wednesdays and Fridays.* In the cathedral are two
organs ; one by Father Smith, seldom used,— -the other, a very
superior instrument, by Snetzler. Formerly the organist and
vicars-choral managed their own revenue, which, arising from
town lands adjacent to the city, and from the renewal of leases, is
ofl»n considerable ; but latterly this, their own business, has been
taken out of their hands. A commissioner, appointed by the
primate, together with the agent, who is also an officer of the
archbishop, manage this between them, irresponsible to the vicars-
choral, and under no control but that of their diocesan, who has
the power of suspending or expelling any complainant by his
own authority; and, let it be recollected, without the unfortunate
sufferer having the power of appeal !

The salary of the organist and master of the boys is 160/., to
which are added a large house and garden. The salary of the
vicars is 90Z. a year, with house and garden. This sum cannot
increase, but may diminish. And now, when any vicar dies, it is
the scandalous practice to appoint a deputy, or assistant, in his
«tead, who receives about half the salary : it is, therefore, unneces-
sary to say, that the duty is performed in a manner correspondent
to the abridged emoluments of the office. The choristers are
boarded and educated in the house of the organist ; and when
their voices change, they are apprenticed out to some trade, or
retained as assistants, if capable. Some attempt to obtain a live-
lihood by teaching singing, &c.

Not the least remarkable feature in this establishment is the
set of orders and statutes drawn up for the government of the
vicars-choral. The two following will show the spirit in which
they are conceived :—

' 14M. — All the vicars shall be liable to the archbishop's visi-
tation, and shall appear in the chapter-room before the arch-
bishop, or hji visiter, when they are thereunto called, upon all
occasions ; and if the archbishop or his visiter, in some special
causes that concern the good of the church, urge any vicar to
declare Iiis knowledge, and the said vicar refuse to declare the
same, he shall be urged thereto by all lawful means, and if he
shall then refuse, he shall, after three admonitions, be expelled.

' It is further ordered and enacted, that the vicars-choral shall
not at any time presume to grant away, alien, demise, let, or dis-
pose of any parcel of the lands, tenements, or hereditaments,
which they do now possess and enjoy, in right of their being vicars-
choral of the cathedral church of St. Patrick, Armagh, to any
person or persons, bodies politic or corporate, for any greater or
losger estate or term than the term of one year, without the con-
sent, allowance, and direction of the afclibnbop> vader pain of

immedBate expulsion and deprivation for the same, to every such
of the aforesaid vicars who shall transgress therein.*

THE WAR OF THE CONCERT-ROOMS.

M. Laporte has commenced hostilities against every metro-
politan concert-room, except that of the Kind's Theatre, by
declaring that none of his singers shall be allowed to perform at
any public concert not given on his premises.

M. Laporte (query, liis assignees ?) certainly has a right to
come to such determination, and the public have an equal rirhi
to form their own opinion on the subject, and act accordingly.
Knowing that the opera concert-room, as now altered, is not the
best in the world for sound, and having learnt by experience that
the Hanover-Square Room, and Willis's, are in every possible
respect more agreeable and convenient, those who give concerts,
as well as those who irequent them, will not submit to the die*
tation of M. Laporte, or sanction his attempt at monopoly, fat
the sake of a few vapid airs from the operas of Donizetti and
Bellini. The musical public well know thai Grisi, Lablache^
&c., are in their real element on the stage, where they are heard
to the best advantage, and that in the concert-room they meet
with many rivals, if not superiors, as concert singers. They
know that, if foreign performers be the object, Madame Caradori
is at liberty ; that IvanoflT, a far better singer than Rubini, is here ;
and that Madame Malibran, who altogether is unequalled, will in
a very few days be ready to receive any engagement. They
know, also, that there is no lack of good English vocalists, and
that new ones are starting up every season. And they are begin--
ning to acknowledge that, admitting the great merit of some
Italian singers, there is in many of them a prodigious deal of
what, for want of a more polite word, we must call humbug.

This determination of M. Laporte, or of his assignees, will be
productive of many advantages ; it has already been attended by
one of an important kind, — the example set by the Duchess of
Kent, which, doubtless, will have due influence on the sensible
portion of the great world, as well as on the public at large.

Mr. Sale recently applied to M. Laporte for permission to en-
gage for his concert some of the corps de l* Opera. Tlie manager
reused, unless the performance should take place in the Opera
concert-room. Mr. Sale stated his case to his illustrious pa*
troness, the Duchess of Kent, whose considerate^ excellent reply^
conveyed through Sir John Conroy, adds one more to the many
proofs already given, of her royal highness's sense of justice, ana
of her good feeling towards the natives of the country of her
adoption,— the country which gave birth to her only child, the
presumptive heir of the British throne.

The following is a copy of Sir John Conroy*s note : —

* Kensingion Palace, llth AprU, 1836.

'Sir John Conroy has laid Mr. Sale's request before the
Duchess of Kent. Her Royal Highness was pleased to observe
that, with every disposition to give that liberal support to the
King's Theatre which would enable the lessee to provide the
first foreign talent for the public, in return for the large receipts
at that house. Her Royal Highness could not allow Her support,
or sanction of certain arrangements, to interfere with, or press on,
other establishments that are used for native talent, — which it ia
no less her duty than her most anxious desire to support.

' Sir John Conroy is, therefore, ordered to observe, that what-
ever concert will gratify the public, and carry with it Mr. Sale's
just reward, will please the Duchess of Kent.

« J. B. Sale, Esq.'

MUSICAL FESTIVAL IN EXETER HALL.

JuixnNG from what comes within the sphere of our own observa-
tion, and from the report of persons who have bestowed some
attention on the subject, we are led to conclude, that the number
of those who deny Uiis to be a musical country is rapidly on the
decline. That the love of harmony is not so enthusiastic here as
in Grermany, we are ready to admit, but the admiration of it is
with us of a sufficiently decided nature to justify us in considering
ours as a nuisical nation* For il would be unreasonable indsed

H 2

THE MUSICAL LIBRARY.

to assume that the encouragement given to the art by almost
every rank — that the vast sums of money expended on it in every
part of the kingdom — ^that the conversion of our theatres into
opera-houses — and all this not for a limited period^ but for a
series of years, — can be the result of affectation, of a mere pre-
tence to a taste that offers no worldly advantages, and the absence
of which no man blushes to acknowledge.

* Dismissing the consideration of every other corroborative cir-
cumstance, the festival at Exeter Hall two years ago, and that
just celebrated, when nearly six hundred amateur performers
were assembled — amateurs as well qualified in their several de-
partments as professors, all residents of one city, and actively
pursuing other callings — these meetings, we assert, are alone
enough to prove that the study of music, now become so common,
is not the result of vanity — of a silly desire to make a display, but
the natural consequence of a strong musical bias, aided by that
leisure which, though little, all but the labouring class enjoy in
this and every other town in Great Britain.

We were as much astonished as gratified by the choral per-
formances in Exeter Hall in 1834. Generally speaking, the same
persons assembled on the late occasion, and such an improvement
as was to be expected from the continued habit of practising
together in bodies, was apparent ; but principally on the first
evening, when a comparatively new oratorio was performed.
For as to Israel in Eyypt and The Messiah, both were got up so
well two years ago, that Uttle room was left for amendment. In-
deed two, if not three of the most difficult choruses in Israel in
Egypt were executed with more precision in 1834 than now.

The proceeds of this festival are to be applied to the purposes
of the Charing Cross Hospital, the management of the under-
taking was, therefore, consigned to the supporters and medical
officers of that institution. Why physicians should have imagined
themselves qualified for the discharge of a duty so foreign to their
pursuits we are at a loss to guess, but do know that, in some
points of primary importance, the business was planned most
injudiciously. The terms of admission — a guinea and a half for
the reserved seats, and one guinea for all the others — was absurd,
because sure to have an injurious effect. If the admission had
been half a guinea^ the gross receipts would have been doubled,
and the governors of the Hospital would not have been taxed with
tickets which they could not dispose of, and were in numerous
instances obliged to give away. The miscellaneous acts too, if
not positively unnecessary, were, by an error which we should
have thought none could have committed, placed first instead of
last, and consisted of selections made without judgment. Thus
what the company chiefly desired to hear came when they were
half tired by compositions heard everywhere, and (except the
choruses) commonly much better performed.

It is true that the main object of this festival was the choruses :
but as songs, &c. were introduced — and some were undoubtedly
necessary — they ought to have been placed in the hands of the
best singers that could be engaged : for those who give a guinea
and a half, or even a guinea, for a ticket, are not to be put off with
the' excuse, that first-rate singers demand large sums for their
services. Large prices of admission imply large prices to the
performers, and some were now left out who might and ought to
have been engaged, the want of whom, particularly in Solcmm,
and in the Messiah, was strongly felt

The band, led by Mr. Cramer, consisted of eighty violins,
thirty-eight violas, eighteen violoncellos, eighteen double bases,
six flutes, eight oboes, six clarinets, eight bassoons, six horns,
four trumpets, five trombones, one ophicleide, one serpent, one
long drum, and the double-drums ; one hundred and four so-
pranos, ninety-one altos, eighty-six tenors, and ninety-nine bases.
Sir George Smart was conductor, Mr. T. Cramer leader, and
among the professional performers, (amounting to forty-four in-
strumental, and only twelve choral) were Messrs. Lindley, Moralt,
Dragonetti, Cooke, Willman, Denman, Piatt, Harper, Chipp,
&c. In the list of principal vocal performers were Madame
Caradori, Mrs. W. Knyvett, Mrs. Bishop, Miss Masson, Mrs.
Seguin, Mrs. A. Shaw; Messrs. Balfe, Hobbs, Horncastle,
Machin, &c. &c.

There were three evening performances. The first, on Friday,
April the 15th, consisted of a miscellaneous act, including a part
of The Creation ; and all the choruses in the oratorio of Solomon,
with most of the songs, &c., which formed the second act. The
second, on Wednesday, April the 20th, comprised a miscellaneous
act, and the oratorio of Israel in Egypt. On Friday, April the

22nd, JTie Messiah, with Mozart*8 accompaniments, as a matter
of course was given.

Every performance was preceded by a night rehearsal, to which
the public were admitted by half-guinea ticketB. Two of these
tickets, however, were delivered out to each of the amateur per-
formers at the price of a crown, and thus the room was completely
filled. But on: the nights of performance the numbers fell very
short, and of the reserved seats, only a few had occupants. The
Duchess of Kent, the Princess Victoria, and their suite, attended
each night of performance, and were received with acclamations
becoming enough in a theatre, but not quite usual in a concert-
room.

We shall ofier no remarks on the miscellaneous acts ; there was
but Htde in them that has not been heard and commented on over
and over again, and the performance of the solos, &&, was not in
many instances what the public had a right to expect.

But in speaking of the choruses throughout, — ^and these were
the great feature — our task at once becomes a pleasing one : we
have only to express our surprise at the correctness with which
they were executed by such a body of amateurs, and our congra-
tulations on what must be considered as so complete a triumph.
The accuracy of performance would alone have excited our admi-
ration, but this was raised to wonder by the thorough knowledge
of the subject, and nicety of discrimination evinced by so vast a
concourse — ^by nearly six hundred persons, to whom music is a
pastime, not a profession I*^

After The Messiah and Israel in Egypt, the two finest choral
oratorios of Handel are Solomon and Deborah ; we hardly know to
which the preference should be given, therefore cannot object to
the choice made on the present occasion. The songs, &c., in the
former are, with the exception of ' What thotigh I trace,' heavy
and uninteresting. Many were omitted, and those retained were
necessary as reliefs to the choruses. Of the choruses it is almost
impossible to speak too highly. The first, * Your harps and cym-
bals sound,* exhibits all the resources of art, — of fugue, of inver-
sion, without the slightest appearance of pedantry, or sacrifice of
effect. Tlie giving out of this, by the bases, was as if by one
great supernatural voice. The chorus that follows, * With pious
heart,' is a more regular fugue, but does not tell so well. The
beauty of' May no rash intruder,' a chorus which forms so judi-
cious a contrast to the others, is universally admitted. We wish
that, contrary to the usual practice, the whole were performed
sotto voce : calling in a loud voice on ' Zephyr's soft breath,' and
the nightingales ' to lull the royal pair to sleep,' is somewhat in-
consistent, it must be granted.

' From the censer,* one of the most splendid of Handel's works,
need only be mentioned : every lover of choral music speaks in
its praise, and every sound musician knows its depth and value.
It was admirably performed.

The four choruses, which together sometimes are entitled The
Passions, beginning with ' Music, spread thy voice around,' are
very successful in attaining the object the composer had in view.
In the Battle-chorus the whole orchestra is in the loudest, fiercest
ferment ; the two choirs represent the most terrible mortal strife.
Then, at once, pity succeeds to rage, and the chorus, ' Draw the
tear from hopeless love,' one of the most pathetic musical descrip-
tions that exists, awakens a new and totally different" passion.
The melodious beautiful fugue that follows, ' Thus rolling surges
rise,' * releases the tortured mind,' and ' restores the mind to
peace.'

The last really great chorus in the oratorio is ' Praise the Lord
with harp and tongue,' in the winding up of which, Handel has
exerted all his strength. A finer peroration can hardly be ima-
gined. With this the oratorio ought to terminate ; all after it
seems ^ flat and unprofitable,* and much of the superfluous part
was now omitted, but the whole should have been unscrupulously
rejected.

It is only necessary to add — indeed we are warned by a want
of space — that the choruses in Israel in Egypt, and in The
Messiah, were, w ith a very few exceptions, executed in a manner
that may defy candid criticism. We do not believe that even in
Germany, the chosen land of harmony, they could have been so
well performed. Can it then with justice be said that this is not
a musical nation 7

* For the perfect manner in which the chomses were performed, the public are
much indebted, we uiiderataud, to llr. T. F. Travers, who uirected ihe various priTste
rehearsals. Whether Uiis gentleman is a profe.'>sor, or an amateur, we cannot say,
but he has a claim to much more notice and praise for his ability and exertionS) than
the newspapers have bestowed on him. '

THE MUSICAL LIBRARY.

PHILHARMONIC CONCERTS.

FOURTH CONCERT, MONDAY, APRIL 11.
Act I.

Siafonia, No. 2., composed for this Society . • • • Spohk.

8cena, Mr. Balfe, ' Pace, ardenti* {EurtfoniKe), • . .CM. von Webbh.

Concerto, piano* forte, i i c minor, Mr. C. Potter • • • Mozart.

Scena, Madame Caradori Allan, * Ah ritorua* • Mbndslmorn-Babtholdy.

Overture, {Ei/mont) ••.•...• Bjciethoybn.

Act II.

Sinfonia, No. 1 • Hatdn.

Song, Mrs. A. Shaw, * Make haste to deliver me,' (Clarone obli-

gato, Mr. Willman) ....... Neukomk.

Trio, two violoncellos, and contra-basso, Mr. Lindley, Mr. Lucas,

and Signor Dragonetti ...••.• Cosblli.
Aria, Madame Caradori Allan, * Batti, batti,' (Don Oiovanm),

(Violoncello obligato, Mr. Ltndley) • • • • • Mozart.
Overture, Le Prince de Humbourg . • • • • Marscumbr.

Leader, Mr. Loder. — Conductor, Mr. Moscheles.

Spohr^s symphony in d minor is an elaborate composition ; each
movement is well designed and highly finished, and many pas-
sages are beautiful to the scientific ear ; but the labour is too
obvious, the harmony is overloaded, and thus the melody is
nearly smothered by a superabundance of accompaniment,
through which only the most skilful and experienced can pene-
trate; and even to these the effort is little less than painful. Such
profusion is the sin of the day, and in most instances is resorted
to by those whose imagination is somewhat sterile, but who under-
stand the art of filling up a score even to repletion. Let it not,
however, be supposed that this remark is meant to apply to
Spohr; he is a man of undoubted genius, though certainly much
addicted to the prevailing vice of instrumental redundancy.

What a contrast to such a forest of notes, does the score of
Haydn's first grand symphony present ! How clear his subjects,
and how skilfully treated ! How intelligible to every hearer his
most deeply studied passages, and yet how ingenious, how mas-
terly, his apparently simple thoughts and contrivances !

The overture to jEgmont, one of Beethoven's happiest inspira-
tions, was encored, but a considerable time elapsed before the
performers would return to the orchestra. The audience, how-
ever, very properly persevered, and carried their point. Marsch-
ner's overture is all noise, having as much signification as that
' tale told by an idiot,' to which Macbeth alludes.

The fine concerto of Mozart was most correctly performed by
Mr. Potter. The last movement is that with which J, B. Cramer
has so often charmed the public ear. We thought of him as of

* Dear, happy hours that can return no more i*

The trio of Corelli displayed, as usual, the marvellous power ac-
quired by Dragonetti over what, in other hands, is so stubborn
an instrument.

Mr. Balfe sang, with great spirit and feeling, Weber's fine
scena. We should have thought that he forced his voice too
much, but that the orchestra compelled him to put forth all his
strength. In spite, however, of his efforts, he was worsted : the
accompaniments fairly swamped him at last. How disreputable
to the Society to permit, night after night, such utter destruction
of the vocal music, by the almost savage violence of the band !
The scena by Mendelssohn is one of the least successful of his
compositions. Why will the directors damage his reputation by
bringing forth what had better be at once consigned to oblivion ?
It was ordered and paid for ; there the matter should have rested.
To produce it now is imitating the thrifty old nurse, who, to pre-
vent waste, swallowed the physic which the patient had been
directed to put aside. Mad. Caradori did her best for this scena :
and her worst for ' Batti, batti.'

A sacred song, written by the Chevalier Ncukomm to introduce
a new instrument, was well sung by Mrs. A. Shaw. The force she
applied to her lower notes, depriving them of all sweetness, and
giving them a very masculine character, was the only objection-
able feature in her performance. The instrument, the clarone, is
a base clarinet, the tone rich and powerful, and the compass three
octaves and a half, from cc upwards. It is necessarily long, but
for the convenience of the performer is doubled up, and terminates
in a metallic bell end. This differs from the corno bassetto
chiefly in its scale; in character of tone the two are similar,
though the clarone possesses more power. Indeed, the name is
sometimes given by the Italians to the corno bassetto.

Altogether this concert was not of a very satisfactory kind, and

those of our readers who were not present, will hear with surprise
that all the pieces in the first act were in a minor key. Each
composition, too, vocal as well as instrumental, had, if we mistake
not, the addition of trombones. The wearying effect of this same-
ness may easily be imagined: but it is not so easy to assign a
motive for such a selection, or to account for the manner in which
it was arranged. To one of two causes, however, such misma-
nagement must be imputed ; — either the directors do not take the
trouble to think while forming their concert bill, or they are inca-
pable of thinking to any useful purpose. On the horns of this
dilemma we leave them.

VOCAL SOCIETY.

FIFTH CONCERT, MONDAY, APRIL 18.

PiUlTl.

Anthem, ^ The King Bhall rejoice' . » • • • Handbl.

Glee, ' Dibcord, dire sister* . . • • . Wanss.

Air, Mr. Bennett, * O Sleep* (Semele) • • . • Handel.

Offertorium, moIo and chonis ..... Eybler.

Madrigal, five voices, ' I follow' • • • * • Morlby.

Terzettu, *Niu;hi*s lingering shades' (Azor and Zcmira) • • Spornt.

Sceua, Mrs. BiHhup, ' Ah 1 perfido !'•.«• Bbbthoyeit.
Glee, four voices, * A blossom wreath' • ; • • Clivton.

Marcia, C»ro, ed Aria, * Da\ ferro' (MdomeUo IL) • . Rossini.

Quintet, clarinet, &c. .••.•• Moiabt.

, Part II.

Gloria,' (from 2nd Mass) • . • • • Hummbl.

Song, Miiis Masson, ^ The Omnipresence of the Deity' • • Barnett.

Glee, four voices, * Queen of the silver bow' • • . Hindlb.

Duet, MiNM Masxon and Mr. Hubbs, * Fairest maiden' (Jessonda) . Spour.
Madrignl, five voices, * Phillis, go take thy pleasure' . • Wrelkbs.

Song, Mr. Hawkins, < Here in this trunqnil grove* (Ewyanihe) • Wbbbr.
Glee, five voxes, * Come hither, shepherd-nwain* ... Stbvbns.
Chorus, 'Arise, arise i' (Choice of Hercuies) . • • Handbu

Handel's coronation anthem went off well on the whole, though
there was a slight failure in the lovely verse ' Exceeding glad.'
Webbe s glee was very perfect. Mr. Bennett, in the charming
song from Semele, left us nothing to wish, though we would will-
ingly have resisted the encore. It is not the kind of song that
bears hearing twice on the same evening. The O^ertoriuin is a
masterly work : the composer is almost unknown m this country,
though long famous in Germany. In some ten or dozen years
hence, perhaps we may have the benefit of more of his produc-
tions. Morley's madrigal, a lively, and at the same time a
scientific composition, deserved the applause it received. The
terzetto from Azor and Zemira is an elegant specimen of the author;
in this the mezzo-soprano of Miss Masson, and the rich contralto
of Miss Hawes, told remarkably well. Mrs. Bishop, in Beet-
hoven's fine scena, evinced both judgment and feeling. The work
itself stands much in need of a title ; it must be either an Arianna,
or a Didone Abbandonaia. The quintet of Mozart, which, we
believe, the Vocal Society has the credit of having first made
known publicly, was well executed by Messrs. Willman, Dando^
Pigott, Kearns, and Lindley.

The movement from Hummel's well known mass is a grand
work, one that will long outlive most of his other productions.
Mr. Barnett's song we think a failure: the subject requires
a broader style : the words have not excited equivalent musical
ideas. Miss Masson gave it every possible assistance, but the
horn part was infinitely too loud ; it was coarse, and anything but
'the mellow horn.' ' Queen of the silver bow' is a very pleasing,
long-forgotten glee, the revival of which is very creditable to the
taste of the managers. We have had more than one occasion to
mention in terras of high commendation Spohr's duet. It was
now sung in a most chaste manner. The madrigal of Weelkes
was another rescue from dusty shelves, and amply repaid the
hazard and trouble which attend the re-introduction of what has
long been forgotten.

CLASSICAL CHAMBER-CONCERTS.

FIRST CONCERT OF THE THIRD SERIES, FRIDAY MORNING,
MARCH 25th.

Part L

Quintet, Op. 33, for two violins, viola, violoocello, and centra-
basso, Messrs. Mori, Wattw, Moralt, Lindley, and Dragonetti • Onslow*

Canzonet, Miss Woodyatt, < The Mennaid ' • • • Haydn.

Trio, in b Bat, piaoo-forte, violin^ and violoncelloy Mrs. Anderson,

Messrs. Mori and Ltndley . • • • • Hummbl.

Rondo, Madlle. Pariinaxix,' Dolce m'accogU' • • . Mxybbbsbs*

H 3

THE MUSICAL LIBRARY.

Ooartet, No. «, Op, 11, fcr two violiiis, viok, and tiolonedW^

Mewin. Mvi, Watta, Moralt, and Lindley . • • Hatdk.

Part II.
Tfio, conira-Vasto, violin, and violoneeUo, Signor Dragonetti,

llesfirs. Mori and Lindley . • . • • Hahdbl.

Aria, Si|^orBraii,*PriBcheapanti' . • • • Cimaiuma.

Onartet, No. 3, Op. 18, for two vioUna, viola> and violoncello^

JAwira. Mori, WiOta, Moialt, and Lindley . . . Bbethov«k,

Conductor, Mr. W. S. Bennett.

Of the manner in which the quartets. &e., were executed at this
and the two subsequent Classical Chamber-Concerte, we here at
once say, that they could not, in our opinion, have been performed
with more accuracy and taste in any part of Europe- Indeed the
names of the party, Mori, Watts, Moralt, Lindley, and Drago-
nefti, carry with them sufficient evidence of the fact, — persons of
the highest talent, of great experience, and in the habit of play-
ing together.

The quintet of Onslow pleased the admirers of the sombre
school, but, as is the &te of most of his music, the majority felt
it rather heavy. HumraePs trio was charmingly performed, and
highly relished. But Haydn's quartet, given with a delicacy
that cannot be surpassed, was, evidently, the favourite piece.
The trio of Handel is beautiful in itself, and was rendered more
interesting by Dragonetti's skill. The concert concluded bril-
liantly with the fine quartet of Beethoven, which now pleased the
whole room. But very few years ago this and nearly all his
compositions of the same class were patiently listened to but by
few ; now they are heard with a pleasure almost amounting to
rapture, by nearly all ! Miss Woodyatt sang Haydn's canzonet
deligfatfijUy: Madlle. Parigiani was successful in Meyerbeer's
rondo ; and Mr. Brizzi proved that he is advancing as a vocalist.

SECOND CONCERT, THURSDAY EVENING, APRIL 7t&

Part I.

^xntet, in o minor, No. 21, for hro violins, viola, violoDC«llo, and
fiontra-baiso, Mttin. Mori, Watts, Moralt, Lindley, and Dra-
gonetti ••••..

Air, Mr». Alfred Shaw, < A lonely Arab maid.' (OberM).

Qnintet, in a minor, for piano-iuTte, Tiolin, Tiola, violoncello, and
contra* baaao, Madame Dulcken, Me88n.Mori, Moralt, Lindley,
and Dmgonetti • . • • •

Quintet, in a flat, for two Tiolins, two violaa, and YioloneellOi

On8I4>W«

Mewra. Mori, Watta, Moralt, Lyon, and Lindley

Part II.

BsBTBOTBir*

COKBLLI.

Sonata, No. 6, Yioloncello and contra-basao, Mettrt. Lindley and

Drai^netti ..••..
Air, Mr» Alfred Shaw, ' Frenar Tonei le lagrime.' {Q& Orwti t

Cttriaxi), • • . . . • • CiMAROaA.

Quartet, in ■ flat, for two violin*, viola, and violoncello. Meant.

Mori, Watts, Moralt, and Lindley • . • . Spobr.

Scana, MadDe. Ostergaard. (Jetmmda), • • • • SroHR*

Chrand Posthumous Quartet (Three Movements). Introducing

a Canzona di ringraaiamento, in Modo Lidio, offerta alia Dtvi-

nitl da un guarito: for two violins, viola, and violoneeUo, Meian.

Jlori, Watta, Moralt, and Lindley • . • • Bxsnuimc*

Conductor, Mr. Forbaa.

Onslow's quintet in g minor is, indisputahlv^ one of his best: it
IS more clear and melodious than the generality of his works, and
the slow movement is full of pathos. We might express our
<ypinion of the quintet by Kies in nearly the same wonls. The

{iano-forte part was admirable ; the firmness and spirit of Mad.
>ulcken are entitled to the warmest praise. Beethoven's quintet,
one of his most lively, airy compositional, was received with loud
snd repeated plaudits. Corelli's sonata was thought too Ions; ;
it certainly was heavy. The quartet of Spohr is the work of a
master, but somewhat gloomy, and ineffective.

Of Beethoven's posthumous quartet it would be rash to speak
at large without further acquaintance, and even a view of the
score. We may, however, say, that it is a work displaying un-
abated genius, and that the slow movement is exquisitely beau-
tiful. What the author means by the * Modo Lidio,' we shall
perhaps learn when we see the composition. The Lydian mode,
we presume, is the proper translation of the words.

Mrs. Alfred Shaw sang Weber's pathetic air very chastely.
In Cimarosa's fine aria she was not quite so successful. Madlle.
Ostergaard's voice is two shrill for our ears. She seems a good
musician ; but when the quality of the voice is bad» no skill can
counterbalance the delect

THIRD CONCBBT, HOM0AT MORKlira^ APRIL 18tb.

PartL
Quintet, No. 17^ in b minor, for two liolios, viola, violoDseUn,

and contra-basso, Mesiin. Mori, Watts, Moralt, Lindley, and

DrafTonetti ...... On8U>w.

Aria, Mr. Crouch, < Qui sdegco.* (J? Ftanto IHagioo), . . MoaA.ftT.

Quintet, in o minor, for two violins, two viol »s, and violoncello,

Messrs. Mori, Watts, Moralt, Lyon, and Lindley . • Mosaix.

Air, 'Hide me fn>m day's garish eye,' Mum Clara Novello.

{V Allegro ed U Peruieroso). . • . . • HANnai.

Trio, Op, 71, in B flat, piano-foite, violin, and violoncello, Measrs.

C. Potter, Mori, and Lindley ... . • • BmnrBOTBiv.

Part IL
Trio, in n minor, for two violoncellos ami contra-baaso obligati,

Messrs. Lindley, Lavenu, and Signor Dragonetti . • ConxLU.

Air, Signor Giubilei, * Le Iftoine.' ( First time of performanoe) . MazxannBib
Quartet, in o, Op. 14, for two violins, viola, and violoncello,

Messrs. Mori, Watts, Moralt, and Lindley • • . Hatdr.

Air, a la Tyrulienoe, Mism Clara Novello, < Carina' • . HyuiftaiM

Quartet, in d major, Op. 18, for two violins, viola, and violoncello,

Measn. Mori, Watts, Moralt, and Lindley . • • Bbethoveit.

Conductor, Mr. Potter.

This charming concert terminated the series most brilliantly.
The quintet of Mozart and the quartet of Haydn were, in every
sense of the word, perfect. Onslow's quintet excited more than
usual interest ; and the trio of Beethoven, — ^the piano-forte part
admirably played by Mr. Potter — could not liave been executed
in a more satisfactory manner. Dragonetti, in Corelli^s trio, was
obliged to undergo the fatigue — for fatiguing such a performance
is — of repeating the lasi movement, and literally earned applause
' by the sweat of his brow.'

Miss Clara Novello sang HandeFs divine song in a manner
that can be mentioned only in terms of unqualified praise. It
was really charming. And not less so her performance of Hum-
mers pretty air ; though the two compositions ought not to be
spoken of together. ' Qui sdegno' is beyond the reach of Mr.
Crouch, whom we now heard for the first time. And Signor Gin-
bilei received rather more applause in ' Le Moine,' than either
the composition or the performance of it warranted.

A very full audience learned, with evident satisfaction, that
these concerts are to be renewed in January next.

QUARTET CONCERTS.

SECOND CONCERT, SATURDAY, MARCH 26th.
Part I.
Qnartat, in o, Op. 10, two violins, viola, violoncello, Measra.

Biagruve, Gattie. Daodo, and Lucas Mosabt.

Aria, - Per questa bella Mano,* Mr. Parry, jun Mosast.

Grand Trio, in b flat. Op. 97, piano-forte, violin, and violoncello,
Mra. Anderson, Messrs. Blagrove and Lucas . • • • Bb

Part IL

Quintet, in a, Op. 18 (first time of performance in this coantry),
two violins, two vioUs, and violoneeUo, Messrs. Blai^rove,
Oattie, Dsndi), Goynemar, and Lucas • • . MaiionLasoHN^BAitTHOLST.

Aria, * Voi che sapete,* Miss Rainforth. {Figaro^ . • . Moxakt.

Posthumous Quartet, in b flat, Op. 130 (first time of performance
in this country), two violins, viola, and violoncello, Messrs. Bla-
grova, Gattie, Dando, and Lucaa Bbbtbovbit*

Our space will not allow us to enter into the particular merits of
these concerts in the manner they deserve, we must therefore, in
few words, say, that they not only fully realized all the anticipa-
tions of those who knew the qualifications of the party, but far
exceeded what the most sanguine had expected. Nothing caa
surpass the delicacy of Mr. Blagrove's taste and execution.
Time will give him additional physical strength : his accaracy^
his firmness, admit of no improvement ; and we look up to him
as a successor of those great violin players from whom, in the
nature of things, we must part.

The principal features in this concert were Mozart's lovely
quartet, and Mendelssohn*s quintet. The latter is a work of
great genius : the subjects are melodious and new, and the mode
in which they are treated is both scientific and novel. This, how-
ever, as well as the posthumous quartet of Beethoven, must be at
least twice heard before it would be prudent, or even possible, to
enter into an analysis of either. Their beauties are not all dis-
closed on the first view.

Mrs. Anderson played the principal part in Beethoren's trio
with great neatness and spirit.

THIRD CONGBRT, FRIDAY, APRIL 8is.

PahtI.

Quartet, in o, Op. 82 (first time of performance in thia conntrjr),
two violins, viols, and violoneeUo, Measn. Blagrove, ChMie,
Daado and Lucaa « •••«•«•

THE MUSICAL LIBRARY.

Faaiuiey ' Der BUnde' (firtt time of-performaiiee in this eoiiiitiy)^

HerrKroff Kmllbm.

Sonata, ia f, TidloneeUo and doable-Uaiy Mmmts. Lucas and

Howell ConBUi.

Prei^hiera, ' Sommo Die,' Mrs. Alfred Shaw • . . . Wimtbeu

Quartet, io c» Op. 16, two violius. viola, and violoncello^ Metsn*

Blagrove, Qattie, Dando, and Lucaa Hatdn.

Part II.

Trio, in d, Op. 70 (fint time of performance in thia country),
piano-' orte, violin, and violoneello, Messrs. Cipriani Potter,
Blaii^ve, and Lnoas • • Bbbthotsi.

Canionet, < Der Wanderer' (first time of perfionnance in this

country), Herr Kroff ••••••••F. Sobubbrt.

Quintttt, in d, Op. 24, two violins, viola, violoncello, and double-
bass, Messrs. Blagrove, Gattie, Dando, Lucas, and Howell • Onsuiw*

Spobr's quartet, though it received every possible justice at the
hands of the performers, was thought rather long. On the other
hand, the quartet of Haydn would gladly have been listened to a
second time. Beethoven^s trio, played with the utmost precision,
was most eflFective. And Mr. Howell again displayed a mastery
over his Titanic instrument, that only his master, Dragonetti, can
exceed.

Mrs. Shaw, in Winter's fine air, delighted the audience by the
richness of her voice, and her judicious manner. M. Kroff, a
German, was for the first time heard publicly. His voice is a
pleasing baritone^ his musical knowledge evidently great, and his
style elegant and deeply impressive. The Fantasie and canzonet,
both new to this country, are favorable specimens of the modern
German school. The music of Franz Schubert is highly intel-
lectual ; but, alas ! he is no more : he died a very few years ago,
at the early age of thirty-four.

FOURTH CONCBRT, SATURDAY, APRIL 16th.

Piw I.

Qtiartet, in f, Op. 18, two violins, viola, and violoncello^ Messrs.

Blaijrrove, Gattie, Dando, and Lucas Mosabt.

CavatiuM, * Robert, tei qtie j*aime,' Mrs* Bishop. {Robert ie

Diakfe) •.......•• Mktbrbub.

* Posthumous Quartet in a minor. Op. 132, first time of perform-
ing the whole Composition in this country, two violins, viola,
and violoncello, Messrs. Blagrove, Gattie, Dando, and Lucas • BsBisovnr.

Part II.

Quartet in b minor, Op. 3 (dedicated to Goethe), piano-forte,
violin, vitila, and violoncello. Messrs. W. S. Bennett, Blagrove,
Dando, and Lucas Mbnublssohn-Bartboijit*

Canxonet, Despair, Mr. Balfe •••••.• Hatdn.

Sestet, in b flit, Op. 50, two violins, violoncello, and double-bass.
Messrs. Blagrove, Gattie, Dondo, Guynemer, Lucas, and
Howell BfAvauin.

So cliarming was the quartet of Mozart, that the audience were
much inclined to encore every movement. It made us regret that
we had arrived at the last concert of the series. Of Beethoven*s
posthumous quartet we have before spoken. The performance of
the whole composition showed the spirit and ability of the party ;
though we doubt whether the first and last movements will ever
work themselves into favour. M endelssohn*s quartet is a fine
study, and will be more liked the ofiener it is heard. The sestet
of Mayseder is in his accustomed style, — gay, frothy, exhibiting,
as it now did, the execution of the first violin, and well calculated
as an animated conclusion of a concert.

Mrs. Bishop gave great effect to Meyerbeer's very impressive
idr ; and Mr. Balfe showed his taste in choosing Haydn s fine
canzonet, which he sang with much judgment.

A continuation of these concerts, 'on some future occasioi^,'
was announced.

ROYAL ACADEMY OP MUSIC.

Thb second public concert of the pupils of this institution took
place in the Hanover-square Rooms, on Friday, April 15. The
first part was miscellaneous, and presented nothing very remark-
able, except a iantasia on the flute, played in an extraordinarily
skilful manner by the young Richardson : though it would not
be just to omit mentioning the able performance, by Mrs. Smith
(a very young widow) and Miss Wyndham— tlie latter possessing
A fine contralto voice — of Rossini^s duet, ' Ebben, a te ferisci.'

The second part was wholly devoted to Beethoven's ninth sym-
phony. This, which occupies one hour in performance, is per-
fectly unique, being vocal as well as instrumental. It concludes
with two solos, a quartet, and a chorus, and is altogether a very

• The slow mavttBaiit of thU ^uastatis thus .dasigaatdl by tlManttior: < C«a«
01 nn g wui aiMiaatOj ia Modo I^dio, oieitaaUa diviniti da vajii^uifto.'

remarkable composition. We are slow in expressing an opinion
unfavourable to the work of a master whose intentions and
beauties are often developed only after repeated hearings ; but
having listened to this three times with mucn patient, and, we will
add, laborious attention, we must say, that we have not yet dis-
covered in the symphony merit at all equal to many of his other
productions, certainly not enough to justify the expense of time
incurred in hearing it. Nevertheless, the production of the work
by the pupils of the Academy was a bold but laudable under-
taking. Without some enterprise nothing great can be achieved,
and the manner in which the young artists performed so severe a
task, proved that the committee had not over-estimated their capa-
bility. Viewed, then, as the performance of mere students, it has,
in the opinion of all impartial critics, done them and the institu-
tion very great honour.

REVIEW.

England in 1835, by Frbdbrick von Haumer; iranslaied from the-
German by Sarah Austin. Three vols, Svo, {Murray^ 1^36.)

A GREAT sensation, to use the prevailing phrase, has been excited by
this work. From the moment it was announced that a well-known
foreigner, — a Prussian statesman, a man of high character, holding the
important situation of Professor of History at the university of Berlin,
and who during his stay in this country enjoyed access to the best
society, and ample means of obtaining information on every subject to
which he turned his attention, had written on the present slate of Great
Britain and Ireland, each of our three great political parties became
eager to learn his opinion, and two of these, if not all, have been griev-
ously disappMnted by the perusal of his honest, candid, and, on. the
whole, accurate volumes. Many think him too liberal, others too con-
servative. Some complain that his book is full of * truisms,' forgetting
that his letters are addressed^ not to the well-informed English, who
necessarily must have been already acquainted with much that he has
stated, but to the Germans, to most of whom such * truisms ' were un-
known facts, till his work appeared; while those who are persuaded
that whatever is English is as perfect as anything human can hope to
be, are sore on finding that an impartial, acute stranger does not in all
matters entirely agree with them ; though so favourably does he think
of us, our country, and most of our institutions, that on the continent he
will, we suspect, be accused of a strong English bias— of Anglomanie,

But with M. von Raumer's political sentiments we here iiave nothing
to do ; nor, indeed, with any part of his work, except such as relates to
music, an art in which, in common with most Prussian gentlemen, he
takes great interest, and of which, we have reason to believe, he pos-
sesses a very considerable share of knowledge. ' In the Berlin Aca-
demy of Singing' (Mrs. Austin tells us, in a brief but satisfactory
memoir of him)—* he is regarded as the champion of classical music ;
and in the Court Theatre, over which he has some control as council-
lor, he has laboured with all his power to keep up the moral influence
of that establishment as a school of art.'

M. von Raumer's visit to these islands extended to about six months,
the greater portion of which time he passed in the metropolis. And
though this may seem a period too short for the acquirement of much
knowledge on so many and such various subje/^ts, yet it must be recol-
lected, that he came well grounded in the history of Great Britain, and
full of information concerning our laws, institutions, and policy ; that
he was well acquainted with our literature, for he read English with
facility, though at first he did not speak the language with as much
ease as he wished.

The first musical remark of M. v. Raumer is on *the admirable
singing* of the soldiers in the fortified city of Magdeburg. Out
readers may from this infer the state of music in Prussia. The traveller,
however, soon arrives in London, and the first musical performance he
notices is the Philharmonic Concert; of such he thus speaks, in his
eleventh letter, dated April 7th: —

* Yesterday evening, Mr. M took me to the Philharmonic
Concert. I ought io be doubly grateful to him, since it is very difficult
to get tickets for this exclusive assembly* The room is large, lighted
with ten chandeliers, and the roof is arched. Between the windows
(which in the evening are mirrors) are CorlnthUn pilasters. There are
no other decorations worth mentioning. At one end of the room is a
sort of royal box supported by pillars ; at the other the orchestra, which
rises very abmptly. The centre is filled with benches, and three rows
run along each side, as in our Academy of Singing.

* The first thing was a symphony of Maurer, which bore marks of
industry and originality, but was too longy and entirely in the modem,
overloaded chromatic style.

* Next, the tenor song out of Haydn's Orfso^ remarkable for its sim-
plicity, more especially when contrasted with the symphony. Mr.
Parry's voice is soft and agreeable, but he wants force and animation.

* Aria, out of the Donna del Logo, sung by Mdlle. Brambilla, ** Elen^t^

THE MUSICAL LIBRARY.

o tu ch' io chiamo." Often as I have heard Rossiniades, I cannot help
wondering afresh every lime at the music which this audacious composer
sets to the words before him. It is quite impossible to guess the melo-
dies from the words, or to infer the words from the melodies. Mdlle.
Brambiiia, a mezzo-soprano, sang the colorature so well and so piano,
that one could make nothing distinct out of such sweet quavering,
and then dropped forliasimo to the lowest notes of her voice, — to the
admiration of the audience ; but, in my opinion, in a manner neither
fcminine nor sublime, but simply coarse and mannish. It is not neces-
sary for me to enlarge upon this manner, which Pisaroni, though with
far different powers and skill, brought into fashion.

* Overture to Leonora — the old one, which is inferior to the new.

* Second Act. — Mozart's Symphony, Jupiter, I immediately con-
cluded that, under this name, the symphony in c must be meant ;' and I
was not mistaken: without question the most brilliant thing of the
evening.

* Scena out of Spohr's Pieiro di Albano, sung by Mrs If

the modern Italians do not trouble themselves about the general mean-
ing of the text of an air, on the other hand the modem Grermans are in
danger of falling into the opposite fault of laboriously running after the

expression of each single word. Mrs is but a second-rate

singer; very inferior to Mad. Griinbaum, as Mdlle. Brambilla is to
Mdlle. Hahnell.

* had studied Beethoven's violin concerto and played it accu-
rately ; but it seemed to me to want the necessary inspiration. He is
certainly inferior to the great French and German masters.

* In one of Mozart's quintets, Mr. Wilman played the clarionet with
great sweetness of tone and beauty of style.

* A terzetto from Cost fan tutte, and the overture to Weber's Eury^
anthe, were to follow. But as I have often heard the former in greater
perfection than I could have heard it here, you will not blame me for
^oing away. As it was, I did not get to bed till midnight.

' If I may venture, after one concert, to compare London with Paris,
the result on the whole, is this: — The mass of instruments may be equal ;
but the effect is better in the Salle at Paris, and the French performers
on the stringed and wind instruments seem to me more thorough artists
than the English. In London, you hear distinctly that the music is pro-
duced by many ; whereas in Paris it appears as if the whole were the
work of one mind and one hand. Like the half shadows and the flicker-
ing lights on a landscape, so I often thought I perceived uncertainties*
and tremblings of tone, though the main stream flowed on in its regular
course. In Paris, my expectations, as to instrumental music, were far
exceeded : here, they are in a degree disappointed, because I had heard
people assert that it is doubtful which capital has the pre-eminence. In
DOth, vocal music seems quite subordinate.*

The French performers are much better drilled than ours ; they re-
hearse more frequently, with infinitely greater care, and their directors
(we do not mean leaders) are, generally speaking, men of more en-
larged minds : but as relates to spirit and power, no orchestra that we
have ever heard excels, or even equals, that of the Philharmonic
Society.

A week after, M. v. Raumer finds himself at an oratorio at Drury
Lane, and seems to have been much better amused than we were the
same evening. After describing the theatre, &c. he says —

' At length we came to the performance, which was recommended to
the public with some strokes of Italian rhetoric, in a large bill ; it ran
as follows : — •' Unprecedented attraction for this night only. A grand
selection of Ancient and Modem Music, presenting a combination of
the most eminent talent ever introduced in one evening in the national
theatres,'* This sounds very like a mere puff. It was not so, how-
ever; in the first place, for three shillings and sixpence you had about
as much again for your money as in Beriin. The concert began soon
after seven o'clock, and I was not at home till midnight. Do not
think the time long if I take you through the whole concert (without
the music).

•Part I. — Selection from the Mensiah; Overture. The orchestra
stronger than in the Academy of Singing — not so strong as at our
Opera. The adagio softer, more cantando than in Berlin, and in my
opinion, were it but for contrast sake, so much the better. The old
Handelian score was, with few exceptions, used without the added
accompaniments, which was very interesting to me. Tlie music has, if
not a stronger, yet a more calm, I might say a holier effect, without
this higher seasoning, and with only the stringed instruments.

* 1. •• Comfort ye," and •* Every Valley," sung by Mr. Hobbs ; a soft
cultivated tenor, but not remarkable for power or tone.

* 8. Chorus, '* And the glory of the Lord." The bass and tenor, in
comparison with ours, very strong ; the alto and soprano, on the con-
trary, much weaker : but there were more male alto singers than with us.
Hie treble consisted often girls and ten boys ; it was therefore weak,
even in comparison with the proportions usual here ; how much more so
compared with ours ! The absence or the paucity of female voices gave
to the choruses generally a certain hardness and coldness ; otherwise
they went correctly, and with animation aud force. The bass was pecu-
liarly excellent.

* 4. ** O Tlipu that teUest,*' sung by Miss Cawse ; with no expression
but a powerful and equable voice, and a much chaster style than that of
Madile. Brambilla.

* 5. ** The People that walked in darkness,'* sung with appropriate
expression by Mr. Seguin, a very fine powerful bass. The wind instru*
ments came in only at one part towaras the end.

* 6. " For unto us," was encored.

* 7. *' Rejoice greatly,'' sung by Madile. Stockhausen ; her voice has
not the grandeur and fullness requisite for Handel's sacred music ; but
it is pure, sweet, and bears marks of a good school.

* 8. " Why do the Heathen ? ** well sung by Mr. Seguin.
< 9. *' But Tliou didst not leave," Madame Stockhausen.

* 10. " Hallelujah," executed with power and effect.

' A duet was now to follow by Grisi and Rubini, instead of which the
latter came on alone, and the orchestra began to play the symphony to
'* II mio tesoro," from Don Juan. But such a noise arose, such a cry
of ** Grisi, Grisi ! " that, after long hesitation, Rubini retired. After
some pause the director appeared and announced that Madile. Grisi was
not yet come, and begged the audience to hear Rubini in the meanwhile.
He sang his song, and not only once but twice, with the greatest ap-
plause. His voice is an uncommonly powerful tenor, or rather baritone,
with a falsetto. None of our singers equal him in power and facility,
but his application of the modern Italian manner to Mozart seemed to
me thoroutrhly inappropriate.

* Part II. — Selection from Haydn's Creation,

*11. Introduction '* Chaos,'* very well executed, with the requisite
light and shade.

' 12 to 21. Various airs and choruses.

'In the second act, Ivanoff* sang an air from Rossini's Otello, A
beautiful voice, but the unnatural and impure style of the modem
Italian school pushed to the utmost: violent shouting, alternated in the
same bar, with an effeminate and almost inaudible whisper : light and
shade blotched on in hard and unartistlike contrast ; no sustain^ style,
but a superficial striving after effect. But this is what the musical
multitude like.

'Part III. — Miscellaneous.

*23. Overture to William Tell. This noisy, incoherent pasticcio
was encored, at least the latter half, that Handel and Mozart might
not be too much flaitered by the distinction.

'The Impresario now appeared again, and announced with many ex-
pressions of distress, that Tambunni was ill, and some omissions were
therefore necessary.

' Seven pieces followed out of Rossini's and Mercadante's operas,
and a favourite Swiss song. The singers were Miss Cawse, Madame
Stockhausen, Madile. Grisi, Messrs. Rubini, Ivanhoff, Seguin, and
Lablache. Grisi has a fine rich voice, with good lower, and well-
managed upper, notes; great execution, great power, and (as far as it
is possible with such music) appropriate expression. She certainly is
one of the greatest living singers, yet (so far as the recollection of one
performance serves me to decide) I prefer Malibran. Whetlier she is
a dramatic singer, I hope to have opportunities of judging. Lablache
has the most powerful bass voice 1 ever heard in my life, and gave
Rossini's '* Largo al factotum" in a manner which it is impossible to
surpass.

' Whatever admiration, however, this singular production may deserve,
the hearing of seven pieces out of seven Italian operas convinced me
that there is a great similarity and poverty in the means employed, the
ornaments always the same, the melodies undramatic and continually
recurring. What variety, what distinct and appropriate individuality,
on the other hand, in one of Mozart's operas !

' Thus then, I heard thirty, or, witn the encores, about thirty-five
pieces, (recitatives not included,) for thirty-five silver grochen ; cer-
tainly not dear, though it would have shown a better feeling of art to
divide the performance into two. The applause was generally so
loud and lasted so long, that German singers may well think their
countrymen apathetic in the comparison : I can now understand
Devrient's sayinsr, " You have fishes' blood." But German composers
certainly bore off the palm in this London concert. I came home well
pleased, for what 1 had heard was very curious, and much of it very
admirable.'

On the 27th of April, the German traveller and critic was present at
the fifth Philharmonic Concert, and appears not to have been highly
gratified by the performance. He certainly underrates one of our
English pianists. His notion, however, of the proper duration of a
concert, — two hours, or two and a half at utmost — ^is, in the opinion of
all rational people, quite correct

' Last night 1 went to the Philharmonic Concert, and heard^-

* 1st. Beethoven's Symphony in b. It went very well, — ^better than
before.

* 2nd. ** Dies Bildniss ist bezaubemd sch5n,'' sunff by RuhinL His
voke is twice as powerful as that of Mantius, and his facility in exe-
cuting trills, roulades, and quavers fiur greater. But as he thought
proper to introduce all these tricks, and entirely to disregard the simple

* This most be an error* Rubini is iatendsd, not IrAiiovr^— (&f i^«}

THE MUSICAL LIBRARV.

musical elocution, he produced &r less efiect upon me than I expected.
Here this imperfect style, which, spite of its apparent variety, brings
down everything to the same level, is extremely admired.

*8rd. Concerto^ Hummel, in a minor, played by .•..,. Extra-
ordinary clapping, because the performer is an Englishman. In Berlin
people would say, the touch wanted power, the expression was indis-
tinct ; in short, that there was much still to learn. It seemed to me as
if I could play so after a week's practice ; — and my vanity is not great
on the side of music.

•.4th. Terzetto from Oteilo, — ** Ti parla amore,*' sung by Grisi, La-
blache, and Rubini, and much admired ; though the composition, as
adapted to those words, is perfectly absurd — ^particularly the running
passages.

* 5ih. Overture to the Jungfrau von Orleans, by Moscheles ; with
the three principal elements, the Pastoral, the Martial, the Religious.
Conception and execution meritorious, but perhaps not sufficiently in-
telligible to those not previously acquainted with the drift.

*6th. Symphony — Haydn.

* After such a musical supper, and that at the close of such a day,
you will not wonder if I had enough, and left the rest unheard. Other-
wise I should not be siuing here, but must have lain in bed. It is also
my firm persuasion, that nobody can listen with full attention and en-
joyment to music (especially undramatic music) for more than two
hours, or two hours and a half.'

What M. v. Raumer says of the manner in which the Sabbath is kept
in this country, entirely agrees with the opinion which, after long
experience and calm deliberation, we have formed on the subject.
Drunkenness, the besetting sin of the multitude, and the parent of
many crimes, is one of the results of the austerities practised here on a
day which, when the duties of religion are performed, ought to be
devoted to innocent amusements ; as it was in England — before the
puritanism of the seventeenth century forced the people to become
either sour ascetics or calculating hypocrites, — as it is, in every part of
continental Europe. Public- houses, it may be said, are permitted to
be open. Yes, — public-houses and gin-palaces innumerable! But
what kind of recreation is there allowed ? Drinking ; or, in other words,
intoxication, and affrays that fill our watch-houses on the Sabbath -night,
and our public offices on the Monday morning, with the victims of tt
legislation which is as much opposed to sound morality and good policy,
as it is to the benign spirit of the Christian religion.
\ ' I perfectly admit, says the writer, that the English ought to draw a
sharper line of distinction, or rather contrast, between the Sabbath and
the week-days, than any other people. After their intense devotion to,
and ceaseless occupation about, the things of this world, they need to
be more strongly reminded of another, than the Germans and many
other nations. People of education, too, doubtless fill this day in a
varied and intellectual manner. Nevertheless the contrast of the week-
days and the Sundays appears to me too narrow, I might say too
Judaical : the cheerful recreation and gladness of mind, which are
much more congenial with Christianity than many sects believe, are
entirely wanting. The lower classes, who often have to toil wearily
through every other day, find Sunday (as it is constantly described) the
weariest of all. Often, after serving an austere master, they are made
to see in the Father of Love an austerer still. Singing, music, dancing,
the drama, and all amusements which are addressed to our intellectual
nature, are forbidden and denounced as schools of the devil. What
18 the consequence ? That people of temperate, regular habits conduct
themselves in a temperate and regular manner; while a great number
of the less sedate and less patient of restraint give themselves up to the

§T0S8est sensual enjoyment, and seek in that the distinction between
unday and working-day. One set of people complain of the desecra-
tion of the Sabbath, — ^and in this they are perfectly right ; but the only
means they can devise for the remedy of the evil are still severer laws ;
and in this, in my opinion, they are quite wrong. If (the difiiculty of
which can hardly be calculated) all public-houses and gin-shops could
be entirely closed on a Sunday, what would the common people do
then ? how would they get rid of their intolerable ennui ? — By spiritual
exercises? But are not two sermons, two services of religion, suffi-
cient ? Are they not as much as the mind of an ordinary man can
bear? — By reading? But many cannot read, and more have not books
which they care to read.— By sleeping; or what? In this way we
should arrive at the conclusion, that, to avoid all these disorders, some
millions of people ought every Sunday to be chained or locked up.

* I am convmced, on the contrary, that drunkenness would decline, if
music, dancing, and all the less sensual and animal recreations were
allowed. These necessarily impart higher pleasures and more refined
conceptions ; or, at least, tend to generate a taste and an aptitude for
them. A man who enjoys singing, dancing, or the drama, cannot pos-
sibly be very drunk ; nor is brutal grossness of behaviour compatible
with social recreation.

* The utter want of all musical education for the people is doubtless
another efiect of this way of observing the Sunday ; and where this
broad foundation for the culture of any art is wanting, individuals seldom
rise above mediocrity. It is only on masses susceptible of musical
enjoyment, and endowed with musical perceptions, that the lofty super*

structure of art is gradually reared, and, from its height, reacts on the
mass whence it sprung. I utterly deny that millions of Englishmen
are better Christians because they sing badly, or because they do not
sing at all. A few London morning concerts, or an expensive Italian
opera, have nothing to do with the musical education of a people ; and •
just as little with pure taste, or a true perception of art.'

The German connoisseur attended a lecture on music ; the last of the
course. (See this Supplement, vol. ii. p. 69.) The subject was Eng-
lish glees, and the living composers of them. He remarks (vol. ii. p.
100), that the names of these, with the exception of one, are all un- •
known at Berlin, and in a sarcastic strain hints, that their talents must
therefore be of an inferior order.

That there is a great sameness in our glees, is undeniable ; and that of
those who now write them, the great majority are mere imitators of the
school — for a school it is, and a very estimable one — which flourished
from the middle to the close of the last century and beginning of the
present, is equally true ; but the glee is national, is peculiar to this
country, and to relish it requires habit, and an acquaintance with its
nature which few foreigners ever gain, because it is not fashionable here.
At our evening parties, our assemblies, where the veriest trash of Italian
composers is applauded to the echo, the glee, as well indeed as ail music .
by native composers, is proscribed; foreigners, consequently, who
generally take their cue from such societies, rarely have an opportunity
of judging of Finglish harmony, which they presume to be bad, because
not encouraged by those who have the power to choose.

On the 6th of June, Whitsun-Eve, M. v. Raumer, was present again
at one of those concerts to which we give the name of oratorio, because
it is anything but an oratorio. In all that he advances, except when he
disapproves of any part of Weber's most imaginative overture, all ^ue
critics will concur.

* As I am so much in the vein of a frondeur and a criticj I will e'en
go on, and not be chary of my heresies.

* Yesterday evening I heard a *' Grand Selection** of music, sacred
and profane, at Drury-lane. About thirty pieces were sung, of which
I heard twenty- two ; the third act, in which Rossini reigned paramount,
I gave into the bargain.

*Tlie performance began with some of the airs and choruses out of
Beethoven's ** Mount of Olives,'' and here begin my heresies. AH
that I saw and heard yesterday (and on former occasions) bears the
character of instrumental and not of vocal music^ is imperfectly adapted
to the words, and does not in the slightest degree affect me in the way
I require and expect from sacred music. Even what followed, out of
^* Haydn's Seasons," was sacrosanct in comparison with Beethoven.

* Weber's Overture to '* Oberon" is characteristic of the author — ^fuU
of sensibility, genius, and melody. But had I as much time for cri-
ticising as I have inclination, I should try to show that an overture
ought not to be a pot-pourri ; — a cento of melodies taken from the most
unlike situations or passages of the opera, and lightly stitched together^
This sort of patchwork cannot combine the disconnected, incongruous
parts into a true whole; at the very best it is only intelligible after the
opera ; and in that case it is not an overture, nor is it possible for a
conception of the whole opera to be crowded together in this manner.
Gluck and Spontini never attempted this ; and the sort of echoes of
motivi that are found in some of Mozart's overtures are essentially dif-
ferent from Weber's mode of treatment in his Euryanthe and Oberon,
When I heard the latter, however, yesterday, I was affected with me-
lancholy, at the early death of this pure and noble-minded man, in the
solitude of London, far from family and friends.

* Rossini's celebrated Preghiera came between Handel's ** Holy, holy
Lord God Almighty" and •* Sound an alarm." How empty, bare, trivial,
and flat did the flimsy manufacture of the Italian Maestro appear, in
comparison with the profound thought and feeling of the German
Meister ! At each of these alternations, which occurred very frequently^
I could not help thinking of Aristophanes' balance of the merits of
Euripides and ^schylus. The scale of Rossini rose far higher in com-
parison than that of Euripides ; it was only in the comic parts that his
talent was predominant.

' The singing was perfectly suited to the composition ; Grisi, espe*
cially, display^ her skill in these musical tours de force^ — ^in this
dancing on stilts, and jumping through a hoop. The English know the
value of a pound sterling in most things, but they seem to be quite
dazzled by the glitter of these gilded maravedis, and to be guilty of in-
justice towards their native artists. The simple utterance of a touching
air of Handel's, by Miss Kemble, went more to my heart than all the
tricks & la Tartini, or k la Rossini. It is to be hoped that Miss Kemble
will not fall into the common mistake of thinking that the school of
fashion is the school of art ; or estimate these gross departures from a
truly feminine mode of singing — these mere instrumental solfeggios — ^as
the highest proof of merit. May she never lay aside the few jpure and
perfect pearls of tone which become her so well, to trick herself out with
loads of false and borrowed jewels. They will never produce the same
eflect on her as on her Italian rivals. To each his own.

* The voices of the English women, whom I have heard here, are not
comparable in flexibility, brilliancy, power, and energy, to those of
many Italians. The English are the voices to marry ; the Italian are

THE MUSICAL LIBRARY.

like seductive miitiesse^, wliose syren tones witeh away one's senses.
But after a season, a reasonable man returns to his simple and natural
wife, and to the repose and purity of home.

' As an Englishman near me was admiring the famona duet from &-
mJromu, in mich the son learns the murder of his iatlier, and the cri»
minal love of his mother, I was so indignant, that I summoned up all
my English, in oider to prove to him the absurdity, as well as the re-
volting character, of this pretended dramatic music ; probably without
the least effect. And for this reason, and to avoid stomng, I will reduce
my audacious pen to silence.'

Such discernment as is here evinced, such a determination to speak
the truth boldly, whether in politics or art, in religion or political eco-
nomy, have raised up a host of enemies against the author ; but magna
vis veritatis ! and the writer will, if he live, enjoy, a very few years
henee, the triumph of hearing it admitted that he greatly assisted in en-
lightening the British nation on subjects which many had before viewed
through a very dark, false medium.

However, though we agree with M. v. Baumer in nearly all his cri-
ticisms, we differ from him concerning the performance of The Messiah.
He was at the benefit of the Royal Society of Musicians, at which that
oratorio is annually given, and his visit produced the following re-
marks : —

' If I had more time I could say much about the general performance
and the treatment of particular passages, but I must confine myself to a
few observations. There was a sort of prelude on the organ before the
several parts or acts, the effect of which was not very grand or solemn,
mingled as it was with the tuning of instruments. On the other hand,
a very good effect was produced by the organ accompanying and
strengthening the choruses. Handel's original score was generally
used. Here and there, only, the new instrumentation was adopted in
particular parts. Some pieces, for example, ** Every Valley," were
quicker ; others, as *' He was despised," and '* Thy rebuke hath
broken his heart," slower than with us. I think we hold the just mean.

• ITie orchestra and choir were quite powerful enough to fill the room.
With us a choir four times as strong, numerically, is not at all louder
than this; and here lies the most material point of difference between the
performance in London and in Berlin. If, with us, many sing feebly,
and some of the young girls only sigh out a timid whisper, it may truly
be said that here all, both men and women, sing and scream with might
and main. In order to venture upon this, they must certainly be well
trained and practised, and sure of their business ; still, even then, the
ffeneral effect is hard and rough. Although I sat on the fourteenth
bench from the orchestra, the loudness was so painful to me, that I
could hardly sit it out, though used enough to loud music. Tlxis is in-
timately connected with the fact, that all the alto, and the greater part
of the soprano, is sung by men and boys ; whereas the softness, deli*
caey, and beauty of our choruses Is, in a great measure, the result of the
large proportion of female voices. Nor would even these produce so
good an effect, were they not regularly practised once or twice a- week
the year through. The great excellence of our academy of singing is
founded mainly on this unwearied diligence, and on the discrimination
and taste to which it gives birth ; their choruses are not inferior to this
in power, and very superior in beauty, finish, and harmony.

* The solo voices were of very different degrees of excellence ; the
finest, and best suited to the music, was, perhaps, that of Mrs. Kny vett,
in the air " But thou didst not leave." Tlie most unpleasant that of
Mr. Terrail, a short fat man, who piped out the alto songs, such as ** He
was despised."

'Generally speaking, the English singers, male and female, sang
with proper simplicity, and only two or three were seduced into the im-
pertinence of foreign cadenzas. On the whole I must give the preference
unequivocally to the Berlin performance ; and you, at least, will pardon
me for claiming a right to a Vote on this matter, as an impartial musical
critic of long standing.'

If Handel had happily used any kind of pendulum to fix the times of
bis pieces in The Messiah^ no dispute could ever have arisen on the
subject. But surely we are knore likely to have preserved the true tra-
dition than the Prussians ; and it is pretty generally admitted that Mr.
Knyvett (the conductor on the occasion alluded to) is by fitr the best
authority on this subject that these isles — in which The Messiah had its
birth, and where, till of late years, it has exclusively been heard— can
produce. In regard to the female or treble voices, we are by no means
of the writer's way of thinking. It seems to us that, most commonly,
these are too predominant, that the screaming generally proceeds from
the sopranos. Though we admit that this is an evil on the decline, and
that the altos too often bawl in a very harsh manner. Indeed we have long
thought that the substitution of female for male voices in the alto part,
would be a vast inrrprovement. That an abundance of women with low
voices might be found, we have no doubt ; but as the practice — a most
baneful one in every way — \% to strain up the female voice as high as
possible, the fact that the aho voice is far from rare in the sex is very
Uttle known.

M. V. Rarnner went to hear Mad. Malibran in FideUo. Comparing
her with the German actresses in this part, he says, — ^ Milder, with her
magnificent tones and person, was more imposing. • . •- Schechner^s

voice was fuller, and more profoundly touching. Schrceder-Devrient
united the sweetness and the charm, with the romantic devotion of
woman ; and the torrent of her enthusiasm bore you along with resist-
less force.' But he expresses in the warmest terms his admiration of
Malibran, and it is not very difficult to perceive that, with all his predi-
lection for his eomitry-women, he on the whole prefers the Spaniard's
represetiutk>n of the faithful wife, to that of the German's.' Though he
strives to conceal, even from himself, this preference ; concluding fajs
critique by saying, — *' I never was more sensible to the merits of the
singers I allude to, never more grateful for the delight they have given
me, than last night, when Malibran sang or said to me, ^ Anch' io son
pittore.'"

The traveller speaks but little of the King's Theatre and its perform*
ances, though the few lines he bestows on the subject are sufficiently
piquanies. He says —

* I ought to say a few words of the favourite and much-extolled
Italian Opera. Yet wherefore ? It is a hot-house plant, altogether alien
to the English soil, and merely serves to prove that the English are very
ridh, and can purchase and command what they please. Thus they pay
exorbitantly, and listen throughout the whole year to two or three
operas, by the newest undramatic composers of Italy, which the singers
improve upon, to the general astonishment; and yet this degenerate
style is to real music and real song, what the Zuccheri are to Raphael
and Michael Angelo.'

Those who form what is called the fashionable world have, as a body,
almost always patronized weak music, and many others pretend to
admire it because it is fashionable : while not a few tolerate what is
confessedly bad, if sung bv good performers. Since the King's Theatre
has been in M. Laporte's hands, a good new opera has never been pro-
duced ; but he has been fortunate in having had at his command several
singers of first-rate talent. Tltese, though generally very ill employed,
have been enough to satisfy the subscribers, and consequently die
opera-going public. If good music were given, the real amateurs would
throng in crowds to the opera, and the fashionable world would, in spite
of their distaste for those noble compositions which exact attention and
call forth thought, follow the muhitude ; for with them to be seen, when
this can be effected with the convenience that the King's Theatre affi>nl8,
is as much a matter of importance as to see and hear.

That a man of M. v. Raumer's station, of his rank as a philosopher,
and of his high character, should take so deep an interest in the musical
art, must be flattering to all amateurs, and operate as a powerful stimulus
to its professors, leading the latter to think as well as play. Time was
when a gentleman showed, in general society, a backwardness in con-
fessing any knowledge of music ; now most would feel mortified were
it supposed that they did not at least possess a love and correct taste
for the art. In fact, music is making rapid strides ; its diffiision is ex-
tending far wider than is commonly supposed. Already in Germany
and in France it is, by ordinance, a part of the national education ;
and our belief is, that few years will elapse, before its cultivation, to a
limited extent, among all classes of society in these islands, will be re-
commended and encouraged by the government itself.

1. Brilliant Variations an the Polish Air • The Third of May! «»**
an Introduction, by FaEDbRicx Burgmuller. (Chappell.)

2. Introduction, and Variations m ' La Jeune BaUliert* Comr
posed and published by the same. Op. 19.

8. Cavatina from Bellini's Bianca e Fernando, arranged toith

Variations. Composed and published by the same. Op. 17.
We here have a new candidate for musical renown. Where he abides
we know not exactly, but believe that he indites his music in Germany*
These are all written in a musician«*like manner, and in good taste*
though they do not manifest an unusually vigorous imagination ; but
they are equal to most, and superior to many, publications of the kind.
The subject of the first is a characteristic air in a flat ; of the second, a
popular melody in p ; and of the third, a brief cavatina, which, as Bel-
lini's, must be admired by all who desire to think feshionably. Each
requires a good player, one acquainted with the most modem style ;
though we do not mean to imply that we meet with absurdities in any
of the three. The notation might have been much simplified, and the
pieces thus rendered infinitely easier. But it is labour in vain to preach
common sense on this subject.

Bibthotem's Works, edited by J. MoscHSLBa*—

No. 10, Sonata, Op. 90.

No. 11, Sonata, Op. 54.

No. 12, SonaU, Op. 110.
(Cramer, Addison and Beale).

Mr. Moscheles is making progress in his very praiseworthy undertaking.
No man could have been found better qualified for the task : indeed we
know of none in England who could have performed it so well. Iliia
edition too has the advantage-*-a singularly important one--of having
the movements determined by the metronome, for which we sae indebted
to the editor.

THE MUSICAL LIBRARY.

Ko. 10 oonUins die comparatively easy Sonata, dedioated to Count
Kaorice lichnowsky, in two movements : the first in b minor, the last
in B major.

No. 11 is the extraordinary compoution beginning ' In tempo d'un
Minuetto.'

. No. 12, the fine sonata in a flat, with a fugue, in theaanie key as the
last movement

The manner in which these are brought out reflects also great credit
on the publishers.

FOREIGN MUSICAL REPORT.

VIENNA.

JLonis Lacombb's concert took place in the Union Hall <m the 8rd of
January ; and Aloys Khayll gave one on the 6th. The first furnished
proofii of his skill on the piano : the second is too distinguished a flutist
to need any praise.

On the 9th of January, M. Lewy, artiste on the horn, had a concert
«t the Hofopfem ^mtier^ at which his little son played on the instrument
which his lather professes, and threw into it so much expression, as to
excite the public even to enthusiasm. The boy is indeed a prodigy.

Mad. MiMer^s concert took place in the Hall of the Friends to
Music. The bills announced no c]ap-traps, but music of a first rate
stamp, hence the room was not crowded. Mad. Milder, who began her
career with us, and whom we consider as our especial property, sung an
aria by Handel, which did not suit the taste of our public. They were
infinitely more delighted at a song, Es singi em Voglein^ mtt^ witif
witt (A Little Bird sings, twitt, twitt, twitt), and even encored it.
Klopstock's Thusnelda was given by the same lady with warmth and
dignity. On the whole the public treated Mad. Milder with that kind-
ness which the remembrance of her former merits warranted.

Auber*s Bronze Horse appeared on the 5th of January at the Hofop-
fem theaier as a novelty. At Paris tiiis opera met with great applause ;
at our theatre with but little. The subject is too phantasmagic : the
music too bizarre. M. Auber has evidently tried to compose a very
peculiar species of music, but it is a sort which will not do, it seems as If
all the notes were cut : the staccato was the most distinguishing feature.
There are many pretty passages here and there, but tliey are lost in the
great whole. At Paris the great splendour with whic^ this opera was
brought out may have conduced much to its success ; we have no right
to complain of any deficiency in this respect, but then we want some-
thing else. M. Standigl by his noble voice and perfect style of singing
gained the greatest applause in his aria, which, indeed, is the best com-
position in tlie opera.

That the old classical music still has its admirers was shown by two
performances on the 22nd and 23rd of December, of Haydn'n immortal
Creation. On both occasions the house was full, and the applause was
commensurate with the excellence of the performance. The orchestra
mod the solo singers, Madlle. Kraus-Wranitzky, M. Titze, and M.
Standigl, left nothing to desire.

M. Merk gave a farewell concert in the Redouten SaaL He has
justly gained the fame of being a distinguished artiste, although he suc-
ceeds less in the grand than in the tender and playful. However, we
must confess that the pieces which were selected (chiefly lits own com-
posiiion). gave him but little opportunity of displaying his progress.
We should have preferred hearing one of Romberg's dassical concertos,
imd would heartily have thanked M. Merk for affording us such a treat.

On the 24th of January a concert was performed in the Union Hall
by Frederich Mayer, aged ten years, son and pupil of the Bavarian
Kammer musikus, Carl Mayer. He plays prettilv for his age, but we
cannot say more ; henee the applause was b^towed on his youth, rather
than his performanee. M. Henselt on this ooeaaion proved hioMelf an
admirable pianist in some pieces of his own compoiitioQ.

Mad. Schroder-Devrient appeared on the 27th of January as Emme"
line J in the Swiss Family. This is a German opera, sung by a German
singer, and both as they should be. The acting and singing were in
beautiful unison, and the effect of the well-known melodies was extraor*
dmary. Every tone touobed the heart, and when this perfect arUste is
seen and heard, an audience may learn there is aomelhttig better in
music than stage tricks and trillings.

The PupiUconcerts of the Conservatorium, of which six have been
given, satisfactorily prove that this institution is in a great state of pro-
gression. Symphonies and choruses have been performed under the
direction of Professor Sellner. The orchestra is exceedingly well pac-
tised, and the young artistes play with a fire and a delicacy that leave
little to wish.

On the 1st of February the fSsmtly Goldbeig gave a concert in the
Musical Union Halk at which M. Joseph Gold&ig appeared as- a violia*
ist, and Madlle. Fjnaacisca GtoUbaig as a ainger. Although they are
called amateurs, they merit a distinguished rank, even if we class them
with professors.

PRAGUK
A novelty at our opera house was // Bravo* This opera has one good
quality which is, that its musfeal interest increases. evesy act; buty alas!

it does hot finally ascend to anything of a high onkr. We see in it
nothing of diaracter, genuine passion, originality, or invention ; — (overs
and their mistresses, a roue and an old fisherman, sing all in the same
strain. The libretto is in the highest degree confused. The overture
is an every day composition, and not at all calculated to prepossess the
audience favourably. The first act contains no pieces of importance,
till we come to the finale, which does contain a forcible passage or two.
One of the prettiest pieces of the whole is the drinking-song with cliorus
in the second act. The Uiird act contains a beautiful aria, sung by
Violetta^ and an interesting duet. The decorations were grand, the
applause at the end of the first act lukewarm : during the other acts
more lively, and the chief singers were called for. However, the opera
has not done much, and will, we dare say, not often be repeated.

Donizetti's Anna Bolena has been revived, and has met with tolerably
good success. Two years ago the operd appeared on our stage, wiA-
out succeeding greatly. Madlle. Lutzer has so advanced in power and
skill as to have few rivals to fear in this difficult part, and, besides^ does
tlie composer the good office of rectifying, by her own talents, many
faulty points in the composition. Mad. Podhorsky played Joatma
admirably, and MM. POrk {Henry) and Demmer (Percy) seemed to
be nobly contending which should render his part most efiective. A
Madlle. Bohm made her first dramatic attempt as the page, ilr^Atir ;
and although her terror seemed so great, that the trembling did not
forsake her voice even at the conclusion of the opera, yet dkl beautiful
tones occasionally peep out, which gave some promise for the future.

The first guest-part played by Madlle. Jazed^ was AKce, in Meyer-
beer's Robert, in which she succeeded. Madlle. Jased^ has a fine voce
di petto, sings with some expression, and as a beginner deserves praise:
though, indeed, in her musical education too mudi attention has been
bestowed on execution, while intonation and tbe study of intervals have
been rather neglected. She was, moreover, occasionally out in her
time. This, however, may be attributed to the natural anxiety of a
debutante. The young lady's second part was Rosuul, in the BarbierCy
which, however, was not well suited to her.

M. Beydek, formerly a pupil of the Prague Conservatorium, opened
his interesting concert with the first movement of Beethoven*s Sym-
phony in c, which was followed by a concerto on the violin by Spohr»
played by M. Beydek himself with all that skill and ornament which
we so justly admire. Herz's Variations brillantes were well played by
a young pianist, M. Alex. Dreyschork, who made his debUt on this
occasion, and displayed a skill and power which lead us to hope much
from him, when the fire of youth shall have been purified by experience,
and his execution becomes more clear and delicate. The composition
itself is in the most modern style of extravagant variations. The whole
concluded with Variations brillantes for the violin, on a thema firom
Bellini*s Norma and Montecchi, for it appears in both. This was a
great hit, which is more to be attributed to the talents of M. Beydek
the player, than to the composer.

M. Pixis' three Advent quartets increase yearly in popularity. On
this occasion the performers were, in addition to Pixis himself, M. HCltt-
ner (violoncello), M. Machaczet (viola), and M. MtMner (second
violin). The second act was particularly interesting. It opened with
a new and very difficult composition by Onslow, which was followed by
a quartet of Mozart, and the whole concluded with a quintet by a dille*
tante named Veit, which, though it folk>wed Mozart, was heard with
loud and unanimous applause.

LEIPZIG.

At the 18th subscriptkin concert we were much gratified by hearing
Mozart's Symphony in n, without the minuet, played with tlie greatest
attention to the requisite lights and shades. After this Madlle. Wetn-
hold sang a scena and aria, from Spohr's Faust, with applause. M.
Haake in a fantasia for the flute was equally successful. The quartet
and polacca from Bellini's Puritani, sang by Madlles. Weinhold and
Graban, and MM. Gebhard and Weiske, did not go olT badly. Beet-
hoven's noble overture to Leonora made a grand impression. The first
finale to Fidelio was both well played and sung.

The 14th concert opened with Spontini's overture to the Vestal;
after whrch Madlle. Graban sung, with her powerful vdce, Wie nakte
mir der Scklummer (As slumber approached me), from Der Frie-
schutz, and met with the most lively applause. We had, besides the
unexpected pleasure of hearing a travelling artiste on the clarionet,
M. Fred. Hummel play some variations by BHrmann. At the con-
clusion of Uie first part, M. Mendelssohn-BarthoMy (who at his
entrance was hailed with loud acclamatione) played Mozart's noble
concerto hi d minor ; he perfornied it as composed by the master, — not
as it has been worked up--and with his wonted certainty, power, and
judgment. The applause was tumultuous. The seeond part opened
with Schneider's symphony in b minor, a eleveriy-wrought work, which
was well played, and met with the approbation it deserved. The finale
from Boieldieu's John of Paris, Darfein Mensch so etwas wagen
(Dare a man venture such a thing), gave satisfaction.

On the 4th of Eebniary, Beethoven's symphony in w major was very
accurately played, and followed by the aria from Figaro, * E Susanna,^
sang by Madlle, WeinhoU with applause. A concerto for the bassoon,

THE MUSICAL LIBRARY.

by Maurer, was played with applaaae by M. Inten, wko is industriously
pushing forward, and has gained much both in skill and tone. The
duet from Sargino^ sung by our two ladies, was likewise successful.
In the second part we had Beethoven's effective overture in c major
(Op. 124) admirably played. The concluding scene from Handel's
Acts and Galatea^ as arranged by Mozart, was given here for the first
time, and heard with applause. Hie choruses are excellent, as they
must be, when Handel sings, but the arias, in our altered times, do not
always seem to breathe of love. At all events it is very advantageous
that such works siiould occasionally be heard, the benefits that result
arein many respects important.

Tliat very useful institution. The Euterpe, continues to be honoured
by a numerous audience. In fact, the room where its concerts are held
is so crammed, that many of the visiters are compelled to stand in the
ante-rooms. The orchestral pieces, symphonies, and instrumental solos,
go off to the satisfaction of all ; the vocal pieces are sometimes not so
successful, as the best of our amateurs do not choose- to sing in public.
That our readers may know how these concerts are laid out, we will give
« list of the pieces performed at some of them. On the 18th of January :
the Euterpe^s Annual Greeting, composed by M. Mailer, the director of
the institution, sung by the Pauline and Zittau Vocal Union ; this went
off welL Overture to the opera Samari, by Vogler (new) ; capriccio
for the violoncello, on Swedish national airs, by B. Romberg, played by
M. Engelmann. Overture to Bcctliovun's Ltonore. Second Part:
Mdller's third symphony in c minor. On the 1st of February : a MS.
overture by M. Richter; variations for the piano on a Swiss theme,
played by M. Leonhard. Kuhlau's overture to the opera Elua. Duet
from Spohr's FaiLsi, sung by MM. Siirgens and Weynert Beethoven's
Pastoral Sympliony.

M. Ferd. David has taken the place of concert-master in the room of
^ur deceased Matthai ; and on the 25th of February made his appear-
ance in the character of first violinist Pie had already, in combination
with MM. Uirich, Queiser, and Graban, instituted three subscription
quartet-soirt^s, which were very well attended. On the 16th of Janu-
ary we heard Haydn's quartet in c major, with the variations from ^ God
preserve the Emperor;' Mozart's in d minor, and Beethoven's in c major,
Op. 59, No. 8 : which latter work was repeated at the second soirt^e, on
the 23rd, by particular desire. This second soir«^e opened with father
Haydn's quartet, No. 66, Paris edition, followed by one in e major, by
Mendelssohn-Bartholdy. On the 30th we had Mozart's quartet in c
major, Spohr's in e minor, Op. 45, and Mendelssohn's octet.

Brilliant as our concerts are, excellent as are many of our domestic
musical circles, our opera is far from being in a shining condition, for
which we do not blame our theatrical director. The stars of our stage
will not let it be otherwise than it is. We have, however, heard many
a new opera, of which the other German towns know nothing. Halevy's
Jewess has been got up with a brilliancy which does honour to the zeal
of the manager. To its magnificence we must attribute its success, as
there is something for the people to look at ; and while they are gratify-
ing their eyes, tliey allow their cars to be stunned with the music. This
' charming grand opera' (!) is a fine specimen of the taste of the times !
Emperors, princes, horses, bishops, monks, soldiers, rabble. Christians,
Jews, ballets and prayers, are thrown together into a most varied mass,
and thus the holiest interests of mankind become a most pleasant jest.
Then the tones are so eccentrically jumbled together, tliat except a
tolerable piece here and there, we could fancy the music was playing
the harlequin. We have had another new opera by Marscher, called
Die Feuerbraut (The Fire-bride). This gives us pleasure and annoys
viis at the same time. But let us hope that M. Marscher will not end
• with ihhjireless Fire-bride; Nature has endowed him liherally and he
will learn to make a better use of his talents : he can do better things,
And doubtless will.

DRESDEN.

M. Haase, artiste on the bugle, gave on the Slst of December, in the
Hall of Harmony, a concert, at which the following pieces were played.
First Part: A festal overture, with triumphal march, by Ferd. Ries.
Here was a tremendous outlay of meanst producing little effect. This
. well-known and meritorious composer does not seem to have had a clear
idea of his work before he committed it to paper. A divertissement for
the chromatic bugle by L. Horst, played by M. Haase ; pleasantly con-
ceived and well executed. Thema and variations by llode (for the
violin), sung by Madlle. Heinefetter, by particular desire. Second
Part : Variations for the violin by Beriot, played by M. L. Haase (not
the giver of the concert). A composition of great genius, admirably
executed in M. Haase's peculiar style, which is highly polished, but
wants boldness. A duet from Reissiger's FesiapieU sung by MM.
jSchuster and W&chter — pleasing. Le Congi^ adagio for the bugle by
Lfibeck, played by the concert-giver — ^toierable. Third Part: Die
JVeihe der Tone (Consecration of Tones), a musical picture in the form

of a symphony by Spohr, with an accompanying declamation by
M. Pauli. A noble work, which so justly exhibits the composer in his
peculiar sphere. What invention ! what clearness t what a carrying-out
of the leading ideas ! what sweetness of melody \ The execution, though
exceedingly difficult, was excellent.

On the 25th of January a concert was given in the Hall of Harmony
by MM. T. A. Kummer and Franz Schubert, the former a violoncellist,
the latter a violinist. The concert opened with Moscheles' overture to
Schiller's tragedy, the Maid of Orleans. An aria by Mercadante, one
of the innumerable host of Rossini's imitators. A Swiss concertino for
the violin, composed and played by M. Kummer. Of course echoes of
William Tell and the Swiss Boy will be found in a Swiss concert, as the
Swiss themselves are not particularly musical. The taste of the player
and his skill in bravura are well known, and on this occasion he fully
maintained his reputation. The second part began with a Souvenir de
NormOt the title of some variations for the violin, composed and played
by Franz Schubert. We should have preferred hearing a Souvenir de
Giovanni or de Figaro, but that perhaps would have been less genteel.
Schubert's performance was excellent. A duet firom Bellini's PuriianL
Tliere is a whimsical similitude between the composer and his subject.
The Puritans by their rigour threatened to destroy every germ of poetry
in England ; Bellini's tastelessness threatens to destroy good music. A
fantasia and rondo on a theme from Zampa, composed and played by
MM. Kummer and Schubert. Of the composition, the less we say the
better ; of the execution, we admit that its excellence fidly justified the
thunders of applause bestowed on it.

THE DRAMA.

King's Theatre.
Nothing new has been brought out here, or even advertised. Beatrice
di Tenda proved a complete ^/iojco, as indeed was inevitable.

On the 9lh ult. Madlle. Grisi, Signori Lablache, Tamburini, and
Bubini, appeared for the first time tliis season, in La Gazza Ladra,
which has been repeated. Those who are not aware of the manner in
which the affairs of this theatre are managed, will hardly believe, that
the part of Pippo was given to Signer Giubilei, though written for a
mezzo-soprano. Hence the music composed for the character — a
character which Madame Vestris performed so admirably, when first the
opera was produced here^was necessarily sung an octave lower, thus
reversing the harmony ! And hence the finest composition in the opera,
the duet *£bben, per mia memoria,' was barbarously cut out! — So
much for Signor Costa, who is called the director !

Normaj one of Bellini's weak operas, has also been performed; and
his Puritani will have been given before our present Number is pub-
lished. Bellini is to be the all-in-all. The subscribers, however, are
content, the public seem satisfied with Bellini's music, the house fills,
therefore M. Laporte can hardly be blamed.

Drurt-Lanb Theatre.
The Corsair, which is an adaptation of Herold's Zampa, has some
pretty, light music, which pleases — or, rather, putting it negatively —
does not displease while going on ; but not an air, not a phrase, is left
in the memory, a moment after the theatre is quitted. To which we are
bound to add, in justice to the composer, that nearly all of it is very in-
differently sung, and that he has been not very fairly treated in the
manner of bringing out his work.

English Opera House.
This elegant theatre has been doing very well, since it was opened by a
party of performers, and under the management of Mr. Peake. The
prices are now properly adjusted ;^four shillings the boxes, two shillings
the pit, and one shilling the gallery. The balcony is, judiciously, fixed
at a crown. The French drama Les Huguenots, translated, much
abridged and altered, has been produced here, but without a note of the
original music, and draws, for much of the horror is retained, and this
never fails to attract.

TO READERS AND CORRESPONDENTS.

Iv fF, S. will look at the score of Haydn^s auaitet, he will see that the least evil of
two was chosen. We thank him, however, tor his polite note.
%* A pact of the Rstibw, and other articles, muit unavoidably stand over, on
account of the superabundance of temporaiy nutter.

Errata in No. XXV* of Miincal Library.
Page 101. The quaver in the metronomic mark of movement, should be a crotchet,
... 114. Bar 2 of accompaniment, the a in the treble ihould be &•

LONDON: CHARLES KNIGHT, 28> LX7DGATB STREET.

Fanmn bt W. CLOWES Am SONS| Dvu SramaTi Lambbtk.

MUSICAIi lilBRARY.

No. XXVII. JUNE, 1836. Price Sixpence.

The Music of 'Part XXVII.' ^

Commemoration of Sir Thomas Gresham • 87

Correspondence of Zelter and Goethe • • • 88

The Glee-Club Prises 90

CONTENTS.

Pafs

Musical Lectures . • 90

Ancient Concerts •• 90

Philharmonic Concerts • 92

Vocal Society 94

P«fa
Dr. Crotch's Oratorio, The Captiviiy of Judah 94

Review 95

Foreign Musical Report •••••• 95

Drama • . • • 96

THE MUSIC OP PART XXVII.

A Selection from a Pot-Pourri — (Page 141),
composed by Steibelt (see voL ii., p. 61).

Air, with Variations — (Page 146).

This is Rossini's ' Non piu mesta/ from the opera La Cene-
Tentola, and not only the most popular, but the best air in that
work. The variations are by

Adolphe Le Carpbntier,

one of the professors in the Fffench Conservatoire de Musique.

March— (Page 150).

Handel's Sonatas, or Trios, originally written for two violins,
(or two oboes, or two German mites) and a violoncello, have
lately been revived by the advice of Messrs. Lindley and Dra-
gonetti, who, with a second violoncello, have performed them
at various concerts ; not exactly according to the intention of the
composer, but an octave lower, and with very decided effect.
They are in two sets; the first published in 17ol, the second in
173y. The present March — now, we believe, arranged for the
first time for a keyed instrument — ^is from Sonata II. of the
second set.

Adagio — (Page 151),

from Haydn's tenth grand Symphony, which the composer
thought the best of the twelve written for Salomon's concerts.

Overture — (Page 154),

to a German operetta, named iRosette, das Sckweizerhirten-
mddcheny i.e. Rosette, the Swiss Herdsman's Oirl (or Daughter);
or, as we have entitled it in the Musical Library, The Swiss
Shepherdess, — is the composition of

Gottlob Benedictus Bierey,

a native of Dresden, where he was born in 1772. He became
director of the national theatre at Breslau at an early age, and
soon distinguished himself in Germany by the originality^ taste,
and variety of his compositions. Both in the church and theatre
his superior talents have been conspicuous ; and the work, now
first made known in this country, will suffice to prove that he
has supplied the greatest Italian composer of the present day
with hints for the construction of opera oveKures.

Vol. III.

Canzonet for Four Voices — (Page 141).

Canst thou love and live alona ? —
Love 18 80 disgraced :

Pleasure is best

When you can rest
In a heart embraced.

Morning-star doth now appear;
Wind is hush'd, and sky is clear :
Come away ! come away !
Canst thou love and burn out day ?
Rise ! rise ! day-]ight do not burn out:
Bells now ring,
And birds do sing;
'Tis only I that mourn out.

The author of these words is unknown : they are most likely the
production of one of the numerous poetasters of the day whose
names speedily sank into oblivion. The music is by

Thomas Ravenscroft, Mas. B.,
who. Sir John Hawkins says, ' was educated in St. Paul's choir,
under Master Edward Pearce, and was not only a good musician,
but a man of considerable learning in his faculty/ — though it is
clear that he was a bigot, for in a book entitled A Brief Dis-
course, &c., he attempted to * revive the use of those proportions,
which, because of their intricacy, had long been discontinued.'
But he previously, in 1611, had published a collection, under the
title of Melismata, Musical Phansies, &c., for two, three, four,
and five voices, in which we believe the present ' Canzonet ' first
appeared; and in 1621 made atonement for the folly of his
Brief Discourse, by editing and printing « The whole book of
Psalmes, &c., composed into four parts by sundry authors, to
such severall tunes as have beene and are usually sun^ in England,
Scotland, Wales, Germany, Italy, France, ana the Netherlands.*
Among the * authors' appear the names of Tallis, Morley, John
Milton (the father of the poet), &c. Many are by Ravenscroft,
who, had he left only St. L)avid's, Canterbury, and Bangor tunes,
would, doubtless, have ensured the respect and gratitude of pos-
terity. In this work, Hawkins remarks, ' we have the origin of
a practice respecting the names of our common church tunes,
that prevails to this day, namely, the distinguishing by the name
of a particular city, as Canterbury, York, &c.' The work con-
tains a melody for each of the hundred and fifty psalms, many
newly composed, and all harmonized by the above-mentioned
composers.

Ballade — (Page 144).

Le Secret.

Sous le charme qui Tattire,
Dans tes yeux chacun veux lire ;
Moi seul je sais ton secret !
Mais discret,

Je dois me taire

£t cacher ce doux myst^re.

Ton regard qu'on veut surprendre.
Salt me dire un mot bien tendre !
Ah I chacun voudrait I'entendre,

£t puis mourir

De plaisir.

Garde bien, 6 mon amie,
Le secret de notre vie.
Moi seul je veux.
Lire dans tes yeux.
Pour toujours, mon bien supreme !
Qui, c'est toi, toi seul, que j'aime.

THE MUSICAL LIBRARY.

The French is a translation from the German. The music is one
of the original and passionate compositions of Frai4Z Scuubert>
mentioned page 62. But we must correct an error we there
were led into concerning his age and ihe period of his deceaae :
Schubert was bom in Vienna, 1797, and died in 1828> befoee he
had quite completed his thirty^second year.

Song— (Page 146).

Come, dear Maria, come away>

And hail the cheerful spring !
Now fragrant blossoms crown the May,

And woods with love-notes ring ;
Now Phoebus to the west descends,

And sheds a fainter ray ;
And as our rural labour ends.

We bless the closing day.

In yonder artless mapIe-bowBr,

With blooming woodbines twined.
Let us enjoy the evening hour,

On earth's soft lap reclined :
Or where yon poplar's verdant boughs

The crystal current shade,
O deign, fair nymph, to hear the vows

My ikithfol heart has made.

Written by Miss Whatley, and printed in Ritsons Collection,
(i. 256) ; but we have not been able to obtain any information
concerning the author.

•The music, by the Chevalier Neukomm, was originally com-
posed to German words. The above stanzas have been adapted
to the air for this work.

Arietta — (Page 148).
ITie Country Wedding.

* Well met, pretty nymph, (says a jolly young swain.
To a lovely young shepherdess crossing the plain) ;

* Why BO much in haste ; (now the month it was May ;)
' Shall I venture to ask you, fair maiden, which way ? '—
Then straight to this question the nymph did reply.
With a smile in her look, and a glance from her eye,"

\ I came from the village, and homeward I go ;

*And now, gentle shepherd, pray why would you know?**

' I hope, pretty maid, you wont take it amiss,

* If I tell you the reason of asking you this ;

* I would see you safe home, (the swain was in love !)

* Of such a companion if you would approve.' —

* Your offer, kind shepherd, is civil, I own,

' But I see no great danger in going alone ;

* Noc yet can I hinder, the road being free

* For one as another, for you as for me.'

< No danger in going alone^ it is true,

* But yet a companion is pleasanter too ;

* And if you could like (now the swain he took heart !)

* Such a sweetheart as me, why we never would part.' —

* O ! that's a long word, (said the shepherdess then ;)

* Pve often heard say there^s no trusting you men :

* You'll say and unsay, aud you'll flatter, tis true ;

' Then leave a young maiden the first thing you do.'

* O ! judge not so harshly, (the shepherd replied ;)

* To prove what I say I will make you my bride ;
' * To-morrow the parson (well said, tittle swain!)

* Shall join both our hftads, and niake one of us twain.'
Then what the nymph answer'd to this is not said ;
The very next morn, to be sigre I they were wed.
Sing hey derry, ho derry, hey derry down ;

Now when shall we see such a wedding in town ?

This good-humoured ballad is from Riison^s Colhction ofEng-
lish Songs, i. 156. The author is unknown.

The air is from a Grerman burletta by Winter, (see vol. ii.
page 39), to which we have adapted the present words.

Cavatina— (Page 150).

Tu sai qual og^tto,
Si^nore, rivedi,
Ml guidia a' tuoi piedi.

La speme e la ft :
Un guardo ti chieggo,

Un guardo di calma,

Bencfae quest* alma.
Sol vive per te.

From the opera, Constanza e Romilda, composed by

JACOMO METERBEBR.

M. Meyerbeer, who stands so high as an original and powerful
composer, was bom at Berlin, in 1794. He is the son of a rich
banker, James Beer, who bestowed on him a very superior
educatbn, to which the intellectual character of his works may
be partly attributed. He studied music under the Abbe Vogler,
and had as a Mlow-pupil, C. M. von Weber, for whom he formed
a friendship which only the death of the latter dissolved. At the
age of eighteen the youthful virtuoso produced, at Munich, a
serious opera, Jephthds Daughter, in tmnee acts. At Vienna he
composed The Two Caliphs, a comic opera, which, being in the
severe style, met with an unfavourable reception* His ill-aueeess
led him to study the Italian manner, and from that period his
operas were written in a mixed style, uniting the solid and
vigorous accompaniment of his own northern country, to the
light and florid melody of a softer clime.

In 1818 M. Meyerbeer produced at Padua his Costanza e
Romilda, the principal chcuracter written for Madame Pisaronij
then in her prime. Its success was of the most decided kind.
This was followed by Semiramide riconosciuia, performed at
Turin, Emma di Resburgo, at Venice, Marqherita d *Anjou, at
Milan, LEsvle di Granaia, at the same place, &c. In 1825
appeared, at Venice, his Crodato in Egitto, a work by mai^
thought his best, and which in the same year was brought out at
the King's Theatre, where it ran during the remainder of the
season, and was in consequence given at the Theatre Italien in
Paris, the following autumn. M. Meyerbeer now suspended his
musical pursuits for some years : he became the father of a
family, lost two of his children, and, his fortune rendering him
more than independent, passed much of his time in retirement.
But in 1832 he produced his Robert le Diable, at Hie' Academte
RoyaJe de Musique, with a degree of success very rarely equalled^
but certainly not greater than its merits. It was almost imme-
diately after represented at Drury Lane Theatre, but not got
up in a judicious manner ; and though it had a run, the music
was not duly appreciated His new work, Les Huguenots, re-
cently brought out in Paris, has made a great sensation in that
city, and has been promised for some time past at Drury Lane.
If it be worthy of the eulogiums pronounced on it by the Preach
critics, this his last work certainly exceeds all that has hitherto
proceeded from his pen.

Cantata — (Page 152).

Let the dread engines of eternal will,

The thunder, roar, and crooked lightnings kill I

My rage is hot as theirs, as fatal too,

And dares as horrid execution do.

Or let the frozen North its rancour show;

Within my breast hr greater tempests grow :

Despair 's more cold than all the winds can bkMr.

Can nothing warm me ? Yes, Lucinda's eyes :

There Etna — ^thcre Vesuvius lies.

To furnish hell with flames that mounting reach the skies.

Ye powers I I did but use her name,

And see how all the meteors flame 1

Blue lightning flashes round the court of Sol,

And now the globe more fiercely bums than once at Phaeton's fall !

Ah, where are now those flowery groves

Where zephyr's fragrant winds did play ?
Where, guanied by a troop of loves,

The Slit Lucinda sleeping lay ?
There sang the nightingale and lark,

Around us all was sweet and gay :
We ne'er grew sad till it grew dark.

And nothing fear'd bat shortening day.

I glow, I glow, but 'tis with hate !
Why must I bum for this ingrate ?
Cool it, then, and rail.
Since nothing can prevail.

Can nothing cure me ? Yes, Locinda's eyes»

THE MUSICAL LIBRARY.

«r

TThe iBad'Son^, sung hj Cardemo in Tom D'Urfet's Dm
Quixote. This splendid Cantata (or Scena) by PurceU, after
liaving been during more than half a century condemned to utter
ne^ect, — ^hs very existence known only to a few musical anti-
quaries^^was restored by that admirable singer, the late James
TOrtleman> who from dark and dusty sbelves brought the for-
gotten composition to the Ancient Concert, more than fiirty years
ago, since which it has been no stranger to any of the<;ompo8er*s
countrymen who have any claim to the rank of connoisseur.
Mr. Bartleman never sang the whole piece, the words of the
latter part being unfit for modem ears, however relished, both in

C^ lie and private, towards the end of the 17th century. It is
printeci nearly as sung by him; the only <liflkrence is, that
we have marked for repetition only a part of the movement
beginning ' Can nothing warm me ? ' — and, with a view to some-
thing like sense, have changed the word * warm* into ' cure,' at
the repeat.

HENHT PURCELL,

the greatest of English musicians, was born in Westminster, in
the year 1658. His father and uncle were both gentlemen of the
Chapels-Royal, but the former he lost when only six years of age.
He was entered as one of the children of the Royal Chapds,
Captain Cook being then master, and finished his musical edu-
cation under Dr. &low, in whose praise it is monumentally re-
4)0Tded, that he was ' Master to the famous Mr. Henry Purcell.'
While yet a boy in the royal choir, he composed more than one
mnthem that was thought 'worthy of performance. In 1676, at
the age of eighteen, he was appointed organist of Westminster
Abbey, and the following year produced the music of Dido and
JEnecLSy an opera in three short acts, written by Tate, and per-
formed at Mr. Priest's boarding-school, Chelsea, ^ by young gen-
tlewomen.' This, though now so little known, exhibits a vigour
of genius and a perfection of taste possessed by only the favoured
few, and in no other instance attained at so early a period of life.
In 1682, he became one of the organists of the King s Chapel.
In 1694 he produced his grand Te Deuin and Jubilate, which
were p^ormed at St. Paul's at the Feast of the Sons of the
Clergy till the year 1713, when Handel's Te Deum for the peace
of Utrecht supplanted it.

Of Purcell's numerous dramatic compositions we shaii only
mention The Indian Queen, produced in 1689; The Tempest^ and
DitKlesian, in 1690; King Arthur, 1691 ; Dtm Quixote, 1694;
Bnd Boadioea, 1695. He also wrote single songs for several
dramatic pieces, most if not all of which appear in The Orpheus
Britannicus, a work comprising nearly the whole of his secular
compositions for one and two voices : among these are his twp un-
rivalled cantatas, ' Mad Bess,' and ' From rosy bowers.' He also
ce«]x>sed Ten Sonatas, Lessons for the Harpsichord, Odes on
particular occasions, &c. His anthems far exceed in number
those of any other composer, and would alone have furnished suf-
ficient employment for a moderately active mind, and a life of
average duration. Some of these show great thought and a pro-
found knowledge of harmony, but many, we are persuaded, were
written for temporaiy purposes, and never int^ided by their
author to survive the day or the month for which they were pro-
duced.

This great musician died in 1695, in consequence of a cold, it
is said, or perhaps, in other words, of consumption, a tendency to
which was, it is feared, rather encouraged by those convivial
faaUts, into which men of genius were too frequently betrayed in
Purcell's time. His remains were deposited in Westminster
Abbey, where a tablet to his memory is placed, with the following
inscription, from, it is said, the pen of Dryden :

Here lies

Henry Purcell, Esq.,

Who left this life.

And is gone to that blessed place

Where only his harmony can foe exceeded.

Obiit 2V^ die Novembris,

Anno ntatis siue 87 ^

Annoq. Donaai 1670.

TBR2Bno— (Page 148).

O Come, o Bella, Tardor de i vini,
¥\n ooraflini tnoi labbri fal

Bacco vi stitla soave umore,
ly tm td sapore die amor «on "ha.

Bevif , o Cara, quando a la spuma

Tal si costuma gustarlo qui,
Cosi gridando l*ania il Francese,

Cbeto ringlese I'ama cosi.

Ma, care Luci, voi non vedete

Qual' altr^ sete su i iabbri slk ;
Aita '1 core ch'^ tutto foco

S a poco a poco mancande -va.

Si| bella Deri, godiam obe il giomo
Presto h al ritomo, presto al partir :

Di giovinezca godiam il fiore,
Poi 1' ultimore laaciam venir.

Tin wonils are by Paul Antonio Rollt, a well-known poet»
bom at Rome in 1687. He came to this country at the invitation
of Lord Burlington, and was appointed Italian master to the
family of George II. In 1729 he was elected an F.RS. Hft
returned to his native country in 1747, and died in 1767.

The music is by Webbe. (See vol. L p. 49.)

COMMEMORATION OF SIR THOMAS GRESHAM.

An annual meeting is now held for the purpose of comme-
morating the munificent founder of Gresham College, a citizen
who, three centuries ago, having by industry, aided by sound
sense, amassed a noble fortune, devoted it to the noblest purposes.
The meeting was this year held in the Egyptian Hall of the
Mansion House, but when the restoration of Crosby Hall in
Bishopsgate street — one of the few remains of the ancient splen*
dour of our English nobility — is completed, the anniversary will
take place in that venerable and, for many reasons, highly inte-
resting structure.

At this yearly commemoration, prizes are given for essays on
archaeological subjects, and for the ' best orierinal composition in
Sacred vocal Music,' under certain conditions, which may be
learnt at Crosby Hall. In 1832, the musical prize was awarded
to Mr. Hart ; in 18^3, to Mr. Pye (of Exeter) ; in 1834, to Mr.
Goss; in 1835, to Mr. Elvey (of Windsor) ; and that of the pre-
sent year to Mr. Lucas, one of the professors of the Royal Aca-
demy of Music.

The Egyptian Hall was on this occasion fitted up with cross
and side seats, in the manner of a concert-room, the orchestra
being placed at the upper end. The public were admitted by
tickets at half-a- guinea each, the profits arising out of the sale of
these to be applicable to the repairing of Crosby Hall. A tole*
rably numerous and very respectable company assembled ; and
among the performers were Miss A. Novello, Messrs. Vaughan^
Hawkins, A. Novello, &c. The performance began with an an-
them, * Be thou my judge, O Lord,* written in a scientific and
very graceful manner, and in the true cathedral style, by Sir John
Rogers, Bart. This was followed by the lovely quartet from
Spohr's Last Judgment, ' Blest are the departed.' Messnk
Dando, Pigott, Beale, and Lucas, then played the divine air
* God preserve the Emperor Francis,' from Haydn's celebrated
quartet. And now was performed the prize-anthem for the year,
' My soul doth magnify the Lord,' the solo parts by Miss A. No-
vello, Messrs. Hawkins, Spencer, Vaughan and Atkins, accom-
panied on the piano-forte — (why was not a small portable drean
procured ?) — ^by the composer. Of this work we have spoken eLe-
where in our present number ; but we will here add, that parts of
it produced more effect in performance than we anticipated from
a work in which the author had laboured rather to show his mu*
sical knowledge than his genius.

After the anthem, three madrigals, a duet by Clari, a romanza
by Lord Burghersh, and a glee by Stevens, were well sun^, and
an instrumental trio by Handel, for violin, violoncello, and double
base, was ably performed by Messrs. Dando, Lucas, and Flower.

In addition to the music, a ' Prize Essay on the Life and Cha-
racter of Sir Thomas Gresham,' written by J. W. Burgon, Esq.»
was delivered by the Reverend G. C. Renouard, B.D., &c., but
the high-vaulted roof of the Egyptian Hall, though favorable to
music, is prejudicial to the voice in reading ; hence we heard very
indistinctly what proceeded from the lips of the reveretkd pro-

The Lord Mayor (Copeland) delivered the prizes to the author of
the Essay, and to the composer of the music, in speeches which>
we are told by those who were near enough to hear them, wera

THE MUSICAL LIBRARY.

"well conceived and impressively delivered. We trust that his
lordship at least made some allusion to a city ladv» distinguished
hy her Wrning and taste^ to whose active and well-direct^ exer-
tions this Commemoration^ as well as the restoration of Crosby
Hall, now in progress, are chiefly, if not wholly, to be attributed.

CORRESPONDENCE OP ZELTER AND GOETHE.

[Continued from Page 43.]

No. XXVIII.
To Goethe.

Berlin, 1 5th June, 1803.
Herr Geh, Rath* von Wolzogen has been so obliging as to send
by an acquaintance six copies of my songs to you. One was des-
tined for Schiller, another for the Ehlers, the rest I leave to
your own disposal.

Since my return from Weimar and Dresden, I have been in a
new situation. I have read your Cellini j, which, from want of
time and other trivial causes, I had most unjustifiably neglected ;
although I was aware that. Cellini had appeared some years
back in Die Horen.X I have perused the book with unspeak-
able interest, and been thoroughly moved by it. From that time
the desire of going to Italy has so overcome me, that I could do
nothing but weep. Herr von Wolzogen has discoursed with me
on the practicability of taking me to this father-land of the
Muses. I have recognised his benevolent design, and whence is
its origin. AVhat talents or productions could I exhibit to show
myself worthy of an undertaking to me so serviceable ? Since
every thing lies quiet in me, as in a mother's womb, and waits for
a time which, perhaps, may never arrive. Every nerve of my
soul begins now, for the first time, gradually to free itself from
the bondages and splints with which chance and duty had incum-
bered it ; and now, when I should be growing more and more
prudent and docile, I feel like a young horse just sensible of its
freedom.

Nearly thirty years have I borne the burthen and pressure
which have kept me down to the level-ground, while an unknown
power draws me above; and I still live, and can appear calm
when the greatest strainings of body and soul should not be ap-
parent.

Often does my monstrous passion for art lay hold on me, and
will not let me go, until I look at my little ones — then all is
over, and I am again an old man.

I ought to have thought before of altering my external
situation. The dread of cultivating an insufficient talent, as
well as the want of all encouragement, have almost overcome me.
In the midst of all, I have arrived at this point : ability to dis-
tinguish the superior from the merely good in art. In art, I say,
which, like myself, is nearly stifled beneath the pressure of popu-
lar sensation.

August 7th. When I received your dear letter of the 28th of
July, I had sedulously read Schiller's preface to the Bride of
Messina, and have already begun an attempt to bring the choruses
of the piece to a musical form. Thus much have I seen, that I
must have a quiet half-year to succeed in this new style. As soon
as enough is ready to be made out, I will write you about my
discoveries. What you wrote me about choruses has been very
serviceable, since I care more for having a distinct view of the
ancient Greek chorus, than for my own new invention. The
musician is so horribly subordinate to the poet, and, besides that,
needs the whole power of his art. Your thought of making trial
of a new oratorio is excellent; and, for more than one cause, I
should wish to see it put in practice. It is a new way to my
heart, and I unceasingly think upon it.

Your songs will be extremely welcome to me, especially now I
cannot work on account of actual work. I have painfully hoped for
the appearance of the Natural Daughter, but it is not to be had.

You have herewith what I have written concerning orchestra
business. You can only produce perfection by having unceasingly
to do with an orchestra for a long time. I wish to know whether
the little I have said is interesting to you, and whether I may
from time to time write more to you on the subject ; in which
case, I must have the sheets back again, as I have made no copy.

* Privy Countrllor.— Trans.

t Goethe wrote a liff of Benvenuto Cellini. — ^Tiuns.

I A German periodicals— Tbans,

There would be a great deal to say, and I would readily serve
vou by giving you information on such points as you desire to
know. I think I know the constitution of an orchestra as well
as any body, and that I can better discourse of it, than all those
who are ordinarily concerned in it An entirely new race must
be introduced, if any ground is to be gained.

May you fare as well as I wish. 1 commend myself to your
dear family. For ever yours, Zelteil

No. XXIX.

To Zelter.

I HAVE SO often followed you in thought, as to neglect so doing
in writing. To-day I have done but little as an accompaniment
to the sheet I send herewith. I shall continue the reflections,
and, as briefly as possible, touch on the chief points ; the com-
pletion you yourself will give.

Of Mozart^s biography I have at present heard nothing more.
I will, however, inquire about it, as well as its author.

Your beautiful queen has on her journey made many people
happy, but none more so than my mother ; nothing more de-
lightAil could have happened to her in her last years.

Write me from time to time, and send me the play-bills every
month. Write me something more about the performance of the
Natural Daughter ; speak to the point, and without reserve, t
have a desire to shorten some of the scenes, which must appear
long, however excellently played.

Will you give me a sketch of the duties of a concert-master?
As mucn as, at all events, is necessary for one of us to know, that
we may be in some manner capable of passing a judgment on^
and guiding such a man.

Mad. Mara sang at Lauchstadt last Tuesday; with what suc-
cess I know not.

For the songs which I received through Herr von WoLeogen, I
most heartily thank you, in my name and that of my friends.

I have had no time to think of producing anything new. I
hope next time to send'you the loose sheets of ray songs, with the
request to keep them private until they are published. Farewell;
think of me.

Weimar, 2Sth July, 1803. Goethe.

Supplementary Sheet.

You now have the Bride of Messina in print, and wish to know
how to estimate more justly what the poet has given, as you have
learned from his preface what he thinks on the matter, and how
far you agree with him. I will, in reference to your letter, give
you my thoughts on this subject, and we shall soon in a few
words understand each other.

The chorus of the Greek Tragedy may be viewed in four
epochs: —

In the first epoch, in which gods and exalted heroes, gene-
alogies, great deeds, and monstrous destinies were exhibited to
the fancy, a few persons came between the acts, and summoned
the past to the present. Of this we find an approximating
example in the Septem contra Thebas of iGschylus. This was
the beginning of draniatic art, the old style.

The second epoch gives us the body of the chorus as the mys-
tical principal character of the piece, as in the Eumenides and
the Supplices. Here I am inclined to find the sublime style. The
chorus is independent, the interest rests upon it ; one might call
this the republican period of dramatic art, the kings and gods
are only accompanying personages.

In the third epoch, the chorus becomes the accompaniment.
The interest rests upon the families, and their constant members
and heads, with whose destiny that of the people about them
is but loosely connected. The chorus is subordinate, and the
figures of the princes and heroes appear in their full majesty.
Here I may place the beautiful style. On this degree stand the
dramas of Sophocles. While the multitude* has only to look to
the heroes and destiny, and can do nothing in opposition to the
particular or general nature, it betakes itself to reflection, and ful-
fils the office of a summoned and welcome spectator.

In the fourth epoch, the action recedes more and more into
private interest, the chorus often appears as a tedious custom, a
piece of invention which has descended as an heir-loom. It
becomes useless, and hence, in a living poetical whole, a weary
interruption, as, e. g,, when it has to keep secrets in which it has

* Bepretented bj tiw c]ioniB.**BD.

THE MUSICAL LIBRARY.

no interest Many examples of this kind of chorus are to be
found in the dramas of Euripides, of which I may name Helen
and Tphigenia in Tauris,

' You will perceive from this, that, to form one's self in a musical
point of view, one must iriake trials from the two first epochs,
which may be done in short oratorios.

Weimar, 28th July, 1803. Goethe.

No. XXX.

To Zelter.

(The letter itself is uninteresting.)
Continuation of supplementary sheet.
As the Greek tragedy sprang from the lyric, so have we in our
own days a remarkable example how the drama sought to de-
velope itself from the historic, or rather the epic; we discover
it in the mode in which the history of the Passion is sung at
Catholic churches during Passion-week. Three single persons, of
whom the first represented the Evangelist, the second Christ, and
the third the remaining interlocutors, together with the chorus,
(representing Turba, the mob,) performed the whole, as is suffici-
ently known to you. However, for your quicker survey, I will give
a portion : —

Evang, Then said Pilate to him,

Interlocutor, Art thou indeed a king ?

Evang, Jesus answered :

Christus, Thou sayest it I I am a king. Therefore was I born,
and came into the world, that I might testify the truth. Whoever is of
the truth heareth my voice.

Evana. Pilate says to him.

Interlocutor, What is the truth ?

Evang. And when he had said that, he again goes out to the Jews,
and says to them :

Interlocutor. I find no guilt in him. But you have a usage that I
should release one unto you at Easter : Will you that I release unto you
the King of the Jews ?
' Evang. Then they again cried all together and said ;

Turba. Not this one, but Barabbas.

Evang. Now Barabbas was a murderer.

If you shift the Evangelist's business to the beginning, so that
he speaks a general historical introduction as prologue, and if by
the entrances and exits, the motions and actions of the characters,
rou render the interlocutory speeches now uttered by him use-
ess, you will then have brought about a drama.

If I recollect aright, this plan has already been acted on in
Passion oratorios ; still if some one would go to work right funda-
mentally, something new and important might be produced.

fFeimar, 4th Aug., 1803. Goethe.

No. XXXI.

To Goethe.

You ask how it stands with the second part of Zauberflote *. I
suppose you allude to our new representation of Winter's music.
The piece is got up with extraordinary pomp and expense. An
infinite number of new decorations, of aerial and terrestrial
appearances, following fast one upon another, so as scarcely to
leave any room for the performers with their arias, are quite
enoue^h to occupy the piece and the machinists, who are heard and
seen before their proper time. The music fits the piece as well
as the second part of Zauberflote fits the first. It is very richly
worked up, and full of effects which deafen and outstrip the ear
and the senses. The house is fiill every time it is performed, but
I remark no peculiar satisfaction in that part of the public for
whom the piece seemed destined. All will, however, turn out well
yet.

The use, which I promise myself from such pieces, consists in
the hope of seeing the taste of our theatrical public, through
want of wholesome mental food, perish, and the sooner that end
is effected, so much the better for the arts.

Now 1 can well understand why the old masters of art, with
all their knowledge and experience, have been so close and mys-
terious towards their pupils and successors on the subject of eco-
nomy and effect. ,

Effects are soon learned, but it is infinitely difficult to apply

* Goethe aski this in letter XXX., which we have not printed.— Ed.

them so that they really may be effects. This thankless genew^t)
tion looks back with empty pride upon those heroes who so opeidy
exposed to them the rich means of art, that the former have <mly
to fall to, while the latter were obliged to storm Olympus to
catch a spark of animation. They appear, in relation to those
elders, like rich young debauchees, who consume ia festivities all
they have inherited from their fathers, and use everything for
everything.

The costly and extensive decorations of this opera, together with
the noisy and internipting machinery, are so foolishly and bun-
glingly put together, and so badly painted, that one turns away
in disgust. In a most painfully hazardous manner do the figures
of three beautiful girls float about, held for a good half hour by
thin ropes, above twenty feet from the ground, and sing with
a terror that makes one's heart ache. This piece of child's play,
which lasts four hours, and which is stretched out by three long in-
troduced musical scenes, ends with the destruction of the Quteen of
Nighfs kingdom. A king of Paphos, named Tipheus, with whom
the Queen of Night wishes to unite her daughter Pamina, is at last
overcome by Tamino, and cast into the mouth of a burning moun-
tain, the flames of which, rushing upwards, join a shower. of fire
which falls from above, and, amidst a frightful crashing and noise,
which entirely drowns the powerful and elaborate music, the
Queen of Night is struck down from above.

Part of the piece is not destitute of comic attraction. Papageno,
who is a second time deprived of his just-found Papagena, seeks
for her among others in a rural spot, where he chances to find his
father, his mother, and a countless host of little and big brothers
and sisters, from the age of two to that of twenty ; this gives
occasion to a thousand comicalities. This part excepted, the
piece is inconceivably bad.

Professor Fichte, to whom I gave the enclosed letter of the
Jena advocate, is doubly grateful for it, as it contains something
pleasant, and suffices to ward off the unpleasant. Fichte is on the
point of writing to Herr Geh. R.* thereon.

Fichte will not agree to an abridgment of your Natural
Daughter ; he thinks the piece is rounded and complete, and can
only suffer by abbreviation. He designs to write Schiller some-
thing on the subject, especially on the two representations at
Berlin, which he attended with a select circle. He is more con-
tented with the representation here than I am, who had read the
piece twice beforehand, and now found persons entirely unknown,
whom, they said, I should subsequently find natural.

1 have now made up my mind as to the composition of the
chorus f . All uttered by the chorus must be sung. It is unfor-
tunate for me, that I cannot now have the benefit of your
presence. As I peruse the poem, a thousand thoughts strike me,
and the question is whether, in fine, I must not fill the part of the
Bride with a singer. I do not say she is to sing the whole part,
but she must sin$r here and there. Let me have your thoughts
on the subject. Besides all this, something must be done with the
poem, concerning which I cannot clearly explain myself, since I
am obliged to treat the whole work in so fragmentary a manner.
Schiller will not consent to an alteration, but, towards the end, to
speak according to my feelings, the piece, instead of condensing,
rather diffuses itself; on which account I would propose to intro-
duce, in lieu of what in the manuscript is the fourth act, a kind
of epilogue, in which the chorus may take the principal part in its
unlimited grandeur, and, as it were, be quite at home in the
highest regions which the composer can attain. Let me have
your opinions on this point also.

The play-bills of this week, and the new Repertorium% for the
future week, will follow at the same time. I know not whether I
act rightly in sending you these by the post, but I have no other
means.

Mad. Mara will arrive here about the 14th of August. She
has, they say, met with much vexation at Lauchstadt, but her
concert, with the aid of Reichardt, turned out well. At Dresden,
she declared that she was willing to entertain the Elector by her
talents ; but that, as she had been told that his serene highness
condescends to eat while music is going forward, she was forced to
confess that it was impossible for her to sing at dinner. This de-
claration has cost her a hundred ducats, and the Elector has
lost the pleasure of hearing an aria.

Berlin, \Oth August, 1803. Zelter.

* Oeheim Rath, PriYy Counsellor. f AUudincr to the Bride of Meuina.

I Hm name of a periodical.— Kditob.

9»

THE MUSICAL LIBRARY.

THE GLEE^LUB PRIZES.

I%« some years past the members of the Glee-Club, following
the laudable example of a senior society, the Catch-Qub, have
ahnually given prizes, or premiums, of ten pounds for the best
senous glee, and the same sum for the best cheerful glee; also
five pounds for the second best o£ each kind ; allowing no person
to become a candidate unless a professional member of the club.
This latter regulation — obviously a very just one — not having
been generally understood, a curious case has arisen out of the
i^orance of it, which has been the source of a good deal of mer-
riment in the musical world, and tempted a wit to record %md
ar^e it in rhyme.

But first we state the case in plain prose. Three serious, and
the same number of cheerful, glees were sent in to compete for
the prizes. All were rehearsed and performed in the usual man-
ner. I'he ballot took place for the best serious glee. But when
the presklent, John Capel, Esq., opened the letter containing the
name of the successful candidate, it appeared that the composer
was no member! — On Mr. Elvey, organist of St. George's
Chapel, Windsor, the lot had fallen, but fortune favoured him no
further; his ineligibility was declared, and the honour of having
deserved the prize could be his only reward. Mr. Hawes was
declared the author of the second best serious glee, and Mr. T.
Cooke was announced as composer of the only remaining one of
the sanie kind. The case was unprecedented and puzzling; it
was deliberately and gravely debated ; and at length the mem-
bers agreed that, as there were precisely as many prizes as
qualified candidates, no choice was left, and that the two candi-
dates must be put in possession of the two prizes.

A case of this singular nature was productive, as will natiu*ally
have been surmised, of numerous facetious comments, all of
which were borne with great good humour by the two gentlemen
who had walked over the course, and who smiled, then carried
off the premiums in prudent silence, not in vain triumph. But
a. visitor at the meeting, — ^who, if rumour says true, is the highly-
gifted baronet who presides over the most ancient musical club
in London— -instigated by * Glorious Apollo,' the god of wit as
well as of song, and also tutelar deity of the Glee-Club, imme-
<liately put a narrative of the whole affair into verse, and a copy
ct the jeu'd'esprii having fallen into our hands, we lay it before
our readers.

Qrowit amd Anchor Taeenh -^prii 30tk, 1836.
• The funds of the Glee-Club being in a condition

To afford a reward for a good composition,

The sons of Apollo in conclave agree

That * ten pounds shali be given for the best serious glee ;'

And, in order to keep emulation alive,

They resolve that ' the second-best man shall hsivejhe*
The design is proclaimed, and the glees are composed—

Under hieroglyphical embleuiH inclosed-—

Sent in — and perform*d — the best glee is declared—

The party to hail the composer prepared—

And all husii'd in suspense, when, die seals being broken^

The disclosure appears a mistake to betoken !

The tcinnery the moment his name is detected,

Mot being a member, of course is rejected !

So that out of the list, which at first numbered three^

The two standing candidates victors must be ;

And this comfort they glean from the bubble thus barst^

(On the last da3r of April, instead of the first,)

That as no rival glees now remain for the purse.

None, 'tis plain, can be better than theirs — and none worse !

The joy of the donors has, likewiae, this xest.

That at once tliey reward bolii the worst and the best.

'TIs so in a donkey-race often decreed,
(Where success depends more upon temper than speed,)
To fulfil the old ad ige, « though last yet not least,'
That the prize be adjudged to the hindennosk beast !

We will only add that the premium for the best cheerful glee
was adiudged to Mr. Elliott; and that Mr. T. Cooke proved
again ttie author of the sea>ad best.

MUSICAL LECTURES.

Duamei the last two months Mr. E. Taylor delivered a course of
lectures at the Royal Institution^ on the early English Opera,
which were attended by a numerous and> we are glad to aad, a

fashionable audience. He advanced bis opinions wkh the masly
courage that he evinced at the samo place last year, and sup-
ported them by arguments as convincing^ His examples weie
chosen with the two-fold intent of illustratmg his facts and amus-
ing his audience, in both of which, he was eminently successful.

To enter into the subject of Mr. Taybr*s leotures would require
more room than we can possibly afford^ and it woukl be doing him
injustice to give an imperfect account of what he so well delivered :
we therefore insert only his own syllabus^ which will enable our
readers to form some idea of the nature of the course.

LKcruRE I. 13th April. — Introductiom Early Dramatic entertain-
ments. Masques in the reign of Henry VIII. Their music. State of
Music in England before the Reformation. Songs of that time. Songs
in the plays of Sbakspeare. R«ign ot Elisabeth ; her patronage of the
art. Dramatic instrumental music. The stage- singers of that time.
The performance of plays licensed. Reign of Jameal. Ben Jonson's
Masques. Masque music. Laniere and Fetrabosco, inferior to thar
contemporary English composers.

LacTURB II. 20th April. — Reign of Charles F. Attempt at recitatire.
H. Lawes. Prynne's * Histriomasltx.' The Masque of the Inns of
Court f its music by W. Lawes. Camus. Milton *s opinion of thea-
trical entertainments : his friendship for H. Lawes. State of music at
this period. Triumph of the Prince d^ Amour. The Proteelontei
Cathedral music abolished^ and theau?es prohibited. Sir W. Davenukta
theatrical entertainments. Recitative.

Lectl'RB III. 27th April. — Early dramatic music of Italy. VAnf-
pamcLso, Attempt to revive tlie Greek tragedy. Introduction of reci-
tative. Dafne. Euridice, Orfeo. Dramatic music at Borne. In-
dependent origin of the English opera. History of the stage, in
England to the reign of Charles II. Patents to Sir W. DaTenant and
Killegrew. Alterations in Shakspeare*s plays. The music in Macbeth :
who was its author? Mr. W. Linley's claim in favour of Eccles ex-
amined. Matthew Lock : evidence in his favour. Music in the Wttch^.
Gradual decline of the art from the accession of James L State of muaic
in the reign of Charles II.

Lecture IV. 4th May. Henry Purcellr— his education. Decline of
musical science and taste at this period. PurcelPs obligations to fbraigii
masters — of what kind. Specimens of contemporary Italian and Frencli
dramatic music. PurcelPs first opera^ Dido and Mneas — unequalled
by any similar contemporary work. Theodosius. Shadweirs version, of
Ttmon of Athens, Tyrannic Love. Supposed encouragement of Pur-
cell and his contemporaries from Charles II. Dr. Bumey examined.
Graun. Dryden's delinition of an opera — disregarded by Puicetl. Al-
bion and Albanius.

LacTuaa V. llth Ma}.— Reign of Jaooes IL PurceU's Dtoc/eMit.
Instruments and instrumental composition. Reign of WiUiam III.
Endeavour to supersede the English opera by the engagement of f(»eigik
performers. King Arthur. Operas disliked and ridiculed by managers
and actors. Expedients to suppress them. The Fairy QMeen.

LECTuaE. VI. 18ih May. — A Fool's Preferment. Don Quixote^
parts 1 and 2. Bonduca. The Indian QMeeru The Tempest: altered
by Shad well ; afterwards hy Dryden. Establishment of Purcell's fimse.
Don Quixote, part 3rd. Purceh's death. Orpheus Britannicus, Over-
tures and act-tunes. Purceli's character. Conclusion.

CONCERTS OP ANCIENT MUSIC.

THIRD CONCERT, Wednesday, the 27th of Apiil, under the DucaknoC tiM
Earl of Cawdor.

Acs L
Overture. (OccadoKol) • • • •

Choru% ' Soiiicme Doininiia ' • • •

Scene, The Pae4oiu. {S0itmtm) •

SoDg ,/*"• **><*^» ji wiih thee th* uiuheitei'd » f *
Alaorigal, ' Here, in cool grot * . . •

Song, Mr. PhilHpii, < Fra cdligim inoftiiide.* (ONeMlt)
Chorus, < The fMop'e ihiUl bear.* ( iMrmti m E§9ft)
Song* Mad. Caradori Allan, * Son qual nave ' •

Choruiy * Quoniam tu solus' • •

Act II.
Oveihire.. (ItfMMiwo)

XiBj. OF MoiutnraiQif ^

• HailDBL.

. HAeas.

Nbqbl

Chorue, < La gioja ' . • . . j

^^t,\ yf^ Rr.liam r O loee of eight »l
Song, ] **'• ^'''*"" i' Total edip£* . \
Chorui, ' O fiTHt^reated beam ' .J

Trio, <Conce(li, O Cirl'

Pauuluv

Madrigal, < When Thoralta

Sabti.

Song« 1 V In Qu^ barbaio*

18' . . • Wuuua» WMK

Song, Mr. Phillipe, * How wilKng my patenai lore * {/fimttut) HAiamb.

Chorus^ < Gloria in excelaia ' • . • • Mftniar

The Occasional Overture was executed with tbat accorac; and
spirit which distinguish the performance, of HaadeTa muaic at

THE MUSICAL LIBRARY.

these concerts. Bononcini*s chorus is not only & maflterly, but
a noble composition ; it was new to us, and» we believe, to ail the
audience. To Lord Cawdor the subscribers, and indeed the
public generally — for it will, we jnreflunie, now force its wav into
every perfonnance o£ saered musie — are much indebted lor its
introduotion. As an opera composer, the feeble rival of Handel
proved a dwarf; but^ if all his works of the present kind are
equal to this, let us hope that they will be sought out, and revived.

The ' Scene * from Solamon consists oi that series of choruses
beginning with ^ Music, spread thy voice around,' intermixed with
recitatives and airs» the whole of which is generally called * The
Panions,^ though in fact describinff only two. Anger (or Rage)
and. Pity. Mr. Braham sung the scuo parts, and gave to the last,
' Thus rolling suites. rise,* a new but good effect We pass over
the next song, and the glee, neither of which had much justice
done them. The air from the opera, Orlando, was most ably
smig; It is a good composition, but not foee.from mannerism.
The sublime, the almost petrifying chorus, ' l*he people shall
hear,' was quite perfect. The song by Hasse may have pleased
in its day, but never^ we venture to predict, will again be listened
to with satisfactioki^ with difficulty we refrained, from laughing at
it, for the profusion of shakes,, and the style altogether, render^ it
perfectly ludicrous. We commiserated the situation of the singer
to whose lot so droll a piece of antiquity fell. The chorus by
Negri is certainly one of the finest things extant, of its elaas : the
execution was commensurate to the merit of the work*

The overture to Idomeneo excited little attention. Modem in-
strumental music is not cherished by the habiiues of these con-
certs. P^isielb) does not excel in the bravura style : Madame
Caradori sung his cantata most coirectly and neatly, but, as
■lusic, it made no impression on tis, though many seemed much
delighted by it Mr. Braham's ' Total eclipse * is too well known
to require any eulogy. A trio by an excellent but neglected
composer — a contemporary of Mozart — though exceedingly pleas-
ing in itself, produced no effect : the faulty intonation of one of
the soprano parts ruined the whole. The accompanied recitative
from Sarti's moat esteemed opera pretends to much, effects but
fittle ; it is tedious from want of modulation. The aria — (why
call it a ' song ' ?)«— is of a superior order, and was not ill sung.
This was one of the triumphs of Madame Grassini, and as such
VBCollected by many persons now present. The madri^ seemed
rather thin, and was not so effective as usual. Mr. Phillips, in
If anoah's fine effusion of paternal afieetion, compensated for the
loss of Bartleman, who sung this in so touching a manner. The
ehorus of Mozart terminati^l the concert s{rienaidly.

FOURTH CONCERT, WedDetday, the 4th of M ay, under th* Direction o£
Lord Buxgher&h.

Act I.
National Anthem, ' Lord of beaten ' » «. • Haydn.

Selection from Soinman.' — • • • . BUmdbi..

Recit. * Hear me, y% w«men.'

^^>^* ) nr. ev... / ' Withhold tha ezecnting hand.'

Air, .; "'•• ^'^^ V Can I see my infant gored?*

Beat. * IsneK attend.'

Choru9,- From the east unto th» weet.'

;?^ iMisa Birch {[ ^^r^^^^ *^?»'*
Air, . !""■• ""*-" Y Golden cuiumna.'

Chorus, < Swell the full chonia.'

Quartet, ' How swevtly the numbers.'

Qnart«t, ' O Toto tremendo '\
Solo, O cielo clemente !' . } {Jd.mtfteo)
Bead March .J

Duetto, Mrs Bishop and Mrs. Shaw, < Ti Teggo' (// RaHo tU
I¥o9erpiiia) •••.••»

Song, Mad. Grisi, ' II mio ben '
Chonia, ^ Joyful the liquor.* (^Set miw • J tHmmi)

Act II.
Ovednre. (fuMtb) .»••••
Bong, Mad. Grisi, « Let the bbght Seraphim ' \ f « v
GlMNnie, « Let their celeaiial' . .f V. «•""«;

- Hmtobl..

WllfTBR.

Paisibixo.

HAYnN.

BSBIBOTBH.

HaKOBfi*

Chorus, ' Agnus Dei '

Quartet, < Dana nobis paecm'

8«qb Mn; BeoMStt, < Tuna your haips.' ( finAer)

Quartet* < FlainAo J^ il mar'

BsBZHorjov*.
Haiuhh...

MOZABT.

Mr. Phillips, < Revenge ! Timotheiu cnas.' (^/ear. TtaaC) Hanubi..
(fnll Choir) • Now is the month of Maying'

BoDg^ Mn. Bishoiv ' Vot efaa
Ghorua, ' Viatieum in Domioo*

Monuraw.
Mobars^

MOBART.

(Zi/iMy MB/etf)

The Qiuan, who was present st tfats cescert, was g^reeted with
%^ not tke^ ' satkuial anuiain/ ona which will always please^ tiU,

experiencing the fate of ' God «av6 the king,* and indeed of
most good music of a popular kind, it becomes tireson»e front
repetition.

The selection from Sdlomon possessed the charm of novelty;
little of it hadevw been heard by most of the compaoiy. Mr&^
Shaw gave much effect to the fine air, * Can I see my infant
gored?* Miss Birch, in ' Golden columns,' a song for a tenor
voice, (Ud not enact the priest Zcuiok very successfully. The-
lovely chorus, so full of gay melody^ ' From the east unto the
west, was executed with the greatest spirit, and pleased all tastes.
Not less cheerful is ' Swell the full cboru»;' but whence comes
the quartet, — a very charming eomposition-— ' Flow sweetly the
numbers?' It is not in our score. In * Ye sacwd priests^* Mrs.
Kny vett is now unrivalled. The scene from Idomeneo went off
well, and made an impression on the audience, though so many
are partisans of another schooL Winter's charming duet pleased
much, and would have been perfect, had the two ladies given
together a little more practice to it. In the sweet simple aria
from Nina, (the pazza per amore,) Mad. Grisi exhibited great
feeling and ability, but occasionally was rather too ybr/v. She
does not always discriminate between a vast theatre and a concert-^
roomi The just degree of strength in the Haymarket is exoesa
of power in Hanover-square.

We never heard the very original, joyous, clever, vintager's
chorus from The Season9 produce half so much efiect as now:
we almost persuaded ours^ves to believe that every performer
had emptied one flask of the generous juice, and carried another
in his hand, ready to be enjoyed.

The overture to FideHo made, for a time at least, converts of
the Ancients to the heterodox (as they commonly term it) school
of Beethoven. We really expected an encore. Mad. Grift's
' Let the bright Seraphim* was a bold but not unsuccessful
adventure: she pronounced. the words well, had made herself
acquainted with the style, and, but for some unnecessary bad
shakes, and an absurd bravura cadence with the trumpet — llie
whole song abounding in tours-de-^orce-^vve should have had
occasion to speak only in its praise. Mr. Braham undertook the-
arduous task of singing the exceedingly difficult song in Haydn'»
Seasone, 'The traveller stands perplex' d,* and accomplished it
in a manner that few, if any, could have equalled. It is a most
powerful composition, and was adequately performed. The
' Agnus Dei' proved highly satisfactory to all, — another triumph
for the once anathematized Beethoven ! Not less delightftil as a
piece of harmony was Mozart's quartet, which was equally well
relished. Phillips has made ' Revenge ! Timotheus cries,' hia
own. He must be a very extraordinary singer, or a very bold
man, who will attempt it now. Mork^'s n»Bidrigal was season-
able, according to the calendar, but with the thermometer at 45^
and fires blazing in the room, we could not enjoy the imagery of
the poet,

Eacli with his bonny lass,
All on the greeny grais^

much as we liked the harmony of the musician. Mrs. Bishop
sang Cherubini's air very gracefully ; and the chorus, a noble
composition, made a grand finale to an excellent concert.

FIFTH CONCERT, WMimdfty, the Ihfrof Kfaj, tmder the Diiection of the
]>iike of CuBbadftiAL

ActL /

Selection from Acis and Galatba . • • • • Hamdbu

Oveiture.

Chonii. * O the pleasuie of the plune '
Beat ' Lo ! hen laj love.'
Chorus. * Wretched loTen.'^
I^^t. ?». ounUii.. ('InifWt I melt! lbmn.1'
Sony, S *^^»"H^ I • O ruddier Uum the cheny.»
Bactt. < Whither, fttteet?»
Recit, * Hit hideous love.'
Rectt. <Ceaw, OceaseJ
IVio. Mrs. Knyvetfc, Mr. Vaughaii, tod Bfr. Fhilb'iie, ' The flodn dtelK

Recit. ' Help, Galatea.'

^^^-^^ i Mm TTnvv^rt 5**Ti»doM!'
Song, J Mrs.Knyyett, {. HeHrt,.the leef

ChuruB. ' Galatea, dry thy teers.*

Recit X Mise M. B. ( * Relieve thy champion.' \ ,

Song,) Hawes, V R«tura, O God of Hostel* \ ^'

LHMevfftoin o •••••••

Madrigal. < Sweet honey-suekinff beee^' • • •

Duetto, Mr. Vaughan and Mr. Phillips, < Alma miSb** ^Afmitfitf). • Hanoai.

Chorus. ^ Immortal Lord.' (IV6oni4). •

Act II.
Coii«iiio2ad. O^)60f). ••••.»

AvnsN.
Wibwa.

Glee. 'Queen of the valley.'

Trio, violin, violoncello, and contra-baeso, Messrs. Cramer, Lindley,

and Dragonefti

Recit. ) Mad. Malibian ( < Ecco il panto,' 7 (La Clemenxa }
Song, S <l0 Beriot, \ * Non piu di fiori.' \ di Tito), >

Chorus. ^ Hear us, O Lord.' {JudoM Maecabeut),
^"*- \ "w- i>k;iu . i ' Ye twice ten hundred deities.' >
Song, J ^- """P»» J . By the croaking of ihe toad.' J *

Madrigal. ' There is a lady '

Choros. < The many rend.' {Alexander' » Pemt), . • .

THE MUSICAL LIBRARY.

CiMAROSA.

Callcott.

Hakdsl.
Mozart.

HANniT«
PURCBLL.

Ford.
Handbx..

The royal duke gave a good extract from HandeVs Serenata.
The Cyclops, however, made out a better title to the sea-nymph
than the Sicilian shepherd could show : his manly voice, his
fervour, ought to have vanquished his rival — a rival with such
tUminished means — without appealing to other arms. The
inequality between the favoured and rejected lover was great
indeed) and caused us to regret that the daughter of the marine
deities had not been supplied with a more sufficing reason for her
preference.

' A year or two ago. Miss H. B. Hawes debuted as a soprano,
and as such did not realize the hopes of her friends. She then
discovered that her voice had been mistaken; that it was a
contr'alto, not a treble. As a contr^alto she now appeared, and a
more rich, musical voice of the kind we never heard. It at
present possesses power enough, in our opinion, for all useful
purposes, but will become still stronger, for she is young. Her
intonation is perfect, her style pure, and her musical education is,
we understand, most solid and complete. As a solo singer she is
an important acquisition ; but as an alto, or mezzo-soprano, in

flees, or pezzi conceriati of any sort, she will prove invaluable.
Jo further evidence of this is required, after the effective, the
admirable manner in which she took, in the present concert, the
upper part of Callcott's lovely glee. Her ' Return, O God of
^osts ! * left nothing to be desired.

Avison's concerto, simple, melodious, yet not deficient in good
harmony, was a great relief to ears beginning to tire of the unin-
termitting blasts of trombones, which now intrude themselves even
into vocal music. We heard, too, F. Cramer's rich tones, and
chaste manner. The madrigal was excellent. The duet not very
atriking. The double chorus from Deborah, one of the most stu-
pendous of the author's works, was executed in a way not to be
excelled.

. For the reason that Avison's concerto pleased us, we were
gratified by Handel's; admitting, however, the superiority in
some respects of the latter. In the scena of Cimarosa, Mad.
Grisi showed her skill and power, though again rather too much
of the latter : — ' It is good to have a giant's strength,' &c. Call-
cott's glee might have oeen better. Not so Handel's trio. ' Ecco
il punto,' was as fine a piece of musical recitation as we ever
heard. In the aria, ' Non piu di fiori,' Mad. Malibran unbridled
her fancy too often, but on the whole sang it in a most forcible
manner. The chorus, ' Hear us ! ' one of Handel's best, was
faultless. The same may be most justly said of Purcell's great
scene from The Indian Queen,

Her Majesty, her relations, and suite, attended this perform-
ance, but retired early. In truth, the performance was alto-
gether rather heavy.

SIXTH CONCERT, Wednesday, the 18th of May, under the Direction of
the Archbishop of York.

Act I.

Coronation Anthem. * Zadok the priest' Handbl.

Recit. • Dov'e lo sposo' ^ > {Orazj ed > p

Duetto, Mw. Shaw and Sig. Ivanc.ff. * Svenami ormai.' > i Cvriaaj). J ^'■•^■^•A'
Soio, Mrs. Knyvett, and Chorus, 'The marrelloufi work.* (Gea/ion). Haydn.
Musette. {From SistA Grand), Arraugfd by Greutorex . . Handbl.

Madrigal. (Full Choir.) • Strider fttceva ' . . • • Luoa Marbmbjo.
Cavatina, Sig. Ivanoff, * O cara immagine. {Zauherfloie)* . • Mozart.

|;„^}M«.Knyvett, j 1 ^^e' ^Sr^^Sk^rp^^^^^^^^ Handbu

Ke.'WvSr''J {^ Clemens diTlio). . . Mosaht.

Act II.

Overture. (SSauberJIoie), • • ' Mosart.

Song, Mad. Malibran de Beriot, ' O salutaris hostia' • • . Cbbrubimi.

Glee. < Bird of the wilderness' Orbatorbx.

Redt. > Mad. Blalibran ( * O monster ! whence.' )

8ong,> de Beriot, (' Sweet hope.' V {Fideln). . Bbrthotbn.

Qusrtetto. ' II cor e la mia.' )

Song, Mr. Phillips, < Lascia Amor.' {Orlando) Handbf..

Double Chorus. ' He gave them hailstones.' {brael in Egypt), • Handbl.

Song, Mis. Shaw, 'Frenarverreilelagrime' • • • . Cimarosa.

Recit 'And God said'

Recit. ace. ' In splendour bright*'

Chorus, < The heavens are telling.

'.\

{CreatiofC),

Hatdh.

The primate of England made an excellent selection, and his
night was not only honoured by the presence of the Duchess of
Kent, the Princess Victoria, and the Duchess of Gloucester, but
these royal personages condescended to take their seats among
the directors and their friends. Amiable as they are acknow-
ledged to be, we thought that they never appeared more so than
on the present occasion.

The concert opened with a work which, of its kind, has no
equal. The duet by Cimarosa was ably performed. Mrs. Shaw's
part of the recitative was remarkably animated. Ivanoff wanted
rather more spirit. The air and chorus from The Creation^
quite effective. Zingarelli's scena very respectable. The musette,
so judiciously accompanied by wind instruments by the late
sensible conductor of these concerts, delighted every one, as
usual. Luca Marenzio's madrigal was encored, and most de-
servedly ; but in imitating the zampogna (bagpipe), the com-
poser should have added a holding fifth. Signor Ivanoff's
musical voice and pure manner were most conspicuous in
Mozart's sweet, passionate cavatina. How superior is he in this
to another singer of the present day, who is too often praised for
what deserves the strongest censure ! We cannot say that the
song from Hercules is suited to Mrs. Knyvett's style, which
wants the en/ouement so necessary to give it the proper expression.
The finale to Mozart's Tiio made an excellent conclusion to the
first act of this concert.

' Nothing could have been better than Madame Malibran's
performance of Cherubini's majestic air ; and the company en-
tered fully into the merits of the performance. Her scene from
Fidelio (sung, by-the-by, every night at the theatre) is of a mOst
mixed kind; now evincing great genius, and deeply impressive ;
now whimsical, expressing the meaning of isolated words instead
of the general sentiment : at one time forcibly appealing to the
taste and judgment of her hearers ; at another offering a down-
right affront to their understandings. The quartet from the same
opera — one of the best things in it — was not ill sung. We need
not say that ' Lascia amor' was just what it ought to be. Neither
is it necessary to praise the execution of the Hailstone chorus,
which never fails here in performance : it was repeated, at the
desire, we believe, of the Duchess of Kent. Mrs. Shaw afforded
us much pleasure in the air by Cimarosa. The question, ' Does
this belong to Cimarosa or Zingarelli?' is often asked. We
have no doubt on the subject : the latter borrowed it, forgetting
to acknowledge himself a debtor. The chorus from The Cre-
ation, which we are never tired of hearing, wound up this concert
most gloriously.

PHILHARMONIC CONCERTS.

FIFTH CONCERT, MONDAY, APRIL 25.
Act I.

Sinfonia,inBflat(first time of performance) • • . • Lackner.

Air, Miss Birch, * Ave Maria.' • • ' • • • . Chbrubini.

Concerto, Piano -forte (MS.) in c minor, Mr. W. S. Bennett . Bbnnbtt.

Sceua, Mr. J. Benn«tt, *Ahsorrida, amico.* {Jewmda.) • . Sfohr.

Overture. {Famtka.) Chbrubini.

ActIL

Sinfonia, in d Mokabt.

Scena, Mrs. H. R. Bishop, ' Ah perfido.' Bbbthotsh.

Military Concerto, Violin, M. Lipinski LmifSKi.

Tersetto. Mrs. H. R. Bishof), Miss Bireh, and Mr. J. Bennett,

* Qual canna al suol.' {Jeuonda), Spohr.

Overture. {Precioea) C M. von Wbbsk.

Leader, Mr. F. Cramer.^Conductor, Mr. T. Cooke.

Novelty has a charm, which all feel, and most confess: the
directors, therefore, are justified in having brought forward a sym-
phony which, if possessing no striking marks of genius, and
exhibiting few if any of tfiose traits indicating what is called
musical learning, is not below mediocrity. Our readers may
perhaps recollect that some spirited booksellers at Vienna offerea,
some time ago, a prize for the best symphony. M. Lachner,
a young composer of that capital, became a candidate, was suc-
cessful, and the present is the work which gained the premium.
The chances are that it will not often be repeated, but it was
right to let the subscribers hear a composition which the German
umpires thought the best of many that had been allowed to enter
for competition, and which certainly is at least not contemptiblev
The two overtures went off* with great spirit, and Mozart's

THE MUSICAL LIBRARY.

symphony — No. 3, of Cianchetinrs scores — never was more
effective. The concerto had once before been performed in
public by the youthful Bennett, and richly deserved the place
It now found. This is a work which the most experienced, the
best established composer, might be proud to acknowledge,
and the performance of it was quite equal to its merit as a com-
position.*

M. Lipinski, who made his first appearance in London on this
occasion, is a native of ill-fated Poland. Judging frooi a first
hearing, we are inclined to class him with the wonder-working
violinists of the present day. His execution is of the astonishing
kind ; his double stops— r-not a few, but a page of them — are the
most perfect we ever heard; his firmness never fails, and his
intonation is purity itself. He used no harmonics, and was guilt-
less of those tricks which too often gain applause and make a re-
putation. His tone, however, is deficient in richness ; it wants that
Dody which, in our opinion, is infinitely more valuable than the
kind of execution acquired by the sacrifice of the best quality of
the instrument. Of his composition we cannot say much, but
it was on a par with most things of the kind. M. JLipinski was
most vigorously applauded, and the professional portion of the
audience spoke decidedly and loudly in his favour.

The vocal music was well chosen, though, with the exception of
Beethoven's scena, better selected than performed. The directors
are, however, acting with becoming spirit in opposing the claim
set up by some singers to name what they shall perform. If
managers show a little firmness on this point, much of the trash
by which concerts are now inundated will speedily be swept clean
away.

SIXTH CONCKRT, MONDAY, MAY 9.
Act I.

Sinfonia Pastorale • ' Bbbthotbiv.

Aria, M. Ivanoff, ' O caraimmagine.' {Die Zauberflote), . . Mozart.
Grand Fantasia, Piano-forte, M. Thalberg, firbt Pianist to the

Emperor of Autttria.
Duetto, M. Ivanoff and Mr. Phillips, < Ove vai.' ( OuiUaume Tel/). Rossini.
Oferture. (^Piter von Abano), • . • . • • . Spohr.

Act II.
Sinfonia, No. 11 Haydn.

Aria, Madame Malibran De Beriot, < Non pid di fiori.' Como di

Bassetto obligato, Mr. Willmau. {La Ciemenxa di Tito). . Mozabt.

Quartetto, Two Violins, Viola and Violoncello, Messrs. Moii,

Watts, Moralt, and Lindley .•••.* Haydn.

Seena, Mr. Phillips, < Ah che invan.* (JPeier von Abano), . • Spohr.

Overture. {Dtr Freiaehutx) CM. von Webbr.

Leader, Mr. Mori.— Conductor, Sir George Smart.

The symphonies were both admirably performed. • The over-
ture to Der Frieschutz (as well as that to Oberon) can only be
heard in perfection at this concert. Spohr's overture is recherchee,
and dry to the generality, but, after acquaintance, more is deve-
loped than at first promised.

The advent of M. Thalberg will, if we mistake not, form an
era in the history of our piano-forte playing. His performance is
sui generis ; he can be compared with none we have ever heard ;
he seems to be gifted with three hands, for he plays more notes,
and those at a greater distance from each other, than we hitherto
have thought could be commanded by the number of fingers and
thumbs usually bestowed by nature. But while his dpminion over
the key-board excites the wonder of all, especially of those who best
know how to value the conquest he has achieved, he gains the
favour of the real connoisseur by a tendency he shows towards
that kind of music which is based on a firm, on the only sure
foundation. We say tendency , because his fantasia was, as all
such compositions ought to be, a flight of fancy, touching on
manv styles, without resting long enough on any one to enable
the hearer to judge conclusively of the performer's preference.
With such executive powers as cannot be, or at least as are not
exceeded, harmony in all its phases seems to have been the chief
object of his study, the divinity at whose shrine he has wor-
shipped. It would be presumption to enter further into the merits
of such an artist till after a second, or even a third opportunity of
estimating them ; when we have heard him in an adagio — one of
the legitimate kind, i. e, abounding more in taste and pathos than

* A professor of the first rank was expressinf^, a few days ago, his wish that
young Bennett's finances would allow of nis being present at the approaching mu-
sical festival at Dusst* Idorf, at which Mendelssohn's new oratorio is to be produced.
'. pon't let the expense be an obstacle to his improYing himself bv such an ezcursiiin,*
faid'one of the partners in the greatext piano-furte manufactory m Kurofie, — * I shall
be happy to bear the whole of it, and to enable the jxmng genius to remain in Qer-
niany as long as he may wish.' The noble offer was accepted, and Mr. Bennett
reached the desired point on or before the 22ad of May.

in notes — our opinion will, most likely, be finally made up. Its
leaning is, we confess, in favour of his being the most extraor-
dinary pianist that Europe has to boast. M. Thalberg is yet
a very young man. He was in England about ten years ago, as
a child, and received instructions from M. Moscheles. He, for-
tunately, has no intention of submitting to the injurious drudgery
of giving lessons, trusting to the produce of his public and private
performances. " And it is whispered that he is not without the
protection of a relation whose rank in Germany is nearly of the
highest order.

The quartet — the first given here this year !— was played ad-
mirdbly> and received with delight.

Mad. Malibran de Beriot charmed nearly all by her perform*
ance of ' Non piu di fiori.' Sig. Ivanhoff condescended now to
sing the air chosen for him, and certainly did it justice. The duet
for him and Mr. Phillips, a very fine work, was excellent. We
did not like the scena by Spohr, and pitied the singer to whos«»
lot it fell. • .

SEVENTH CONCERT, MONDAY, MAY 23.

Act I.

Sinfonia Eroica

Aria, Mr. Machin, ^ Mentre ti lascio*

• Bbbthotbn*
Mozart.

Septetto, fluti*, oboe, clarinet, bassoon, horn, trumpet, and double-
base, Messrs. Nicholson, G. Cooke, Willman, Denman, Piatt,
Harper, and Dragonetti . . Thr Chbvaubr Nxukovm;

Recitativo ed aria, Miss Mavson, ' Per pieta' {Confan iutti) . Mosaxt.

Overture, tArsfOfidla •••••• Spohs«

Act II.
Sinfonia in o . • • ' • • • • Mozart.

Aria, Mad. Malibran De Beriot, * Quando il Core* . • . Pbhsiani.

Quartetto, two violins, tenor and violoncello, Messrs. Blagprove, Gattie,

Dando, and Lucas ('No. 13, in b Bat) . • . • Bbbtbotbm*

Terzetto, Madame Malibran de Beriot, Miss Masson, and Mr. Machin,

* Coraggio, orsil' (^Fidelia) . • . . . Brbthonbn.]

Overture, Anacreon •••••. Chbbubini.

Leader, Mr. Weichsel.— Conductor, Mr. H. R« Bishop.

The elaborate but fine heroic symphony of Beethoven, which,
though long, is only tedious during a part of one movement that
might be advantageously abridged, was executed in a manner
that leaves criticism no language except that of praise. Not less
perfect was the comparatively simple, unhacknied symphony by
Mozart. In the overture to Jessonda the band were less attentive
than usual, did not always go together, and the effect of the occa-
sional neglects were obvious to all. The Anacreon went off with
the accustomed spirit and accuracy. The septetto partakes more
of the character of the old concertante than of the modern piece
d^harmonie. It was well performed and received. Beethoven's
quartet, played for the first time in England by the same party at
one of the recent Quartet concerts, has a fine adagio movement ;
the other five (!) movements we may, peradventure, one day admire,,
at present they appear to us little belter than abortive attempts at
originality. So correct a performance, nevertheless, of a composi«>
tion of such difficulty, reflects the highest credit on those engaged
in it. This was most injudiciously placed; on account of its ex-
treme length, it ought at least to have been heard while the ear
was unfatigued, and when it could have been listened to without
that impatience which was ill concealed by many.

Mr. Machin, in the ninth of Mozart's Opem^esaenge, aflForded
us pleasure ; and Miss Masson sang ' Per pieta' most charm-
ingly. In allowing Madame Malibran to introduce so wretched
a composition as the aria by one Persiani, the directors prove how
incapable they are of acting with anything like firmness or con-
sistency. They not only bent to the decree of this peremptory
lady, but permitted her to sing without any rehearsal ! The con-
sequence was, that the accompaniments were either all wrong, or
half missing, and had not the cdnductor supplied their place by
the piano-forte, the piece must have come to a dead stand-still.
With regard also to the terzett6 : — was it judicious to give in a
concert what is now performing in so much superior a manner
(because aided by scenic effect) at the theatre ?^and, while com-
plaining, let us not forget to hint to Messieurs the Directors, that
it is a most incontrovertible proof of weak judgment to fill an en-
tire act with compositions all in the same key, as was the case on
the present occasion. Every piece in the first half of the concert
was in e flat ! However incredible -this may appear, we vouch for
the fact.

THE MUSICAL LIBRARY.

TOCAL SOCIETY.

Habbr.

WnnpMk

Chsrubini.
' HAYim.

sncn cosciotx* uant^AY, wlax skd.

AttOiem, ^ I win sn|c of'fliy power' • . .Or.

^Hm, four v(ncet» < <Ooine,, gentle Mphyt ' •

Son}?, Mr. Hobbi, < Tet, e«er just ' • • •

Hadrii^al, wk Toien, ' Ai Vesta ' •

Qoftrtist and OhonBi, * Ija mtftnr!* • • •

Glee, MK voioea, < Soft and safe ' , • •

Air, Miss Hawea, ' O, salutarit Hottia I' • •

GhoruM, ' Tkie arm of the Lord ' . • •

9n»>i^e^lMwAoi'miidDipuUe4)aie •

Cnee,i»v«woieMi, «11»elonJhofiiigH* • • • T.'Cookb.

Ckabite. ■baJfaMoiL, 'Ch*iomi«eordi' « • Moxaat.

Gka, four voioas, * Thoa e^reaa tree * • • • Wibbb.

Quartette e Goto, ' Nettuno i^onari.' {Idomeneo) . . Moiabt.

Madrigal, five voieea, * Fiia, my heart !* . • • Mori.bt.

Cansimet, MIm Woodyatt, * Roae I how tweet r , « D'Ai^obm.

Glee, four voices, < Thvre is beauty on the mountain . • Goss.

Chorus, < To aims !' (^MtAmaud) • . • • Stokacb.

Leader, Mr. T. Cooke. Conductor, Mr. Toblb.

Gre£Ne's anthem, a fine fugue on two subjects, would have gone
well, but that the, sopranos were unsteady, and damaged some
parts. Mr. Horsley*s glee is smooth and elegant, it however
wants contrast It was well sung. The recitative to Riser's
song pretends to much and accomplishes little. The air is good,
though Mr. Hobbs was obliged to force his voice in order to give
expression to it, both himself and the composer therefore suffered
in consequence. Weelkes's madrigal, one of his best, is dear
and pleasing, and was exceedingly well performed. The quartet
and chorus firom Winter's ' Stabat Mater,' are devotional, gentle,
and beautiful : the effect of the chorus, as a burden, is novel and
charming. Callcott's glee would have been all that could be
wished, nad the alto voice been of a more agreeable quality.
The fine air by Cherubini was well placed in Miss Hawes's
hands, though it was taken rather too slow. We caution this
very pleasing singer against straining her voice in the lower
notes, a practice too^common with female contr'altos.

Mr. Cooke's composition is a non-descript, — a glee with in-
strumental acoompaniments ! Had this been announced as a
quintet, and the accompaniments consisted only of horns, the
compomtton would ha;ve deserved praise, for there is in it much
to approve^ and many original features; but the violins, &c., are
fatal additions. Even these would have been tolerable, had they
"beenpizzicaU* Mozart's cantata was altogether quite satisfactory,
"both voice and accompaniment. The glee by Webbe wanted
only a more agreeable alto voice to render it pleasing, for the
compositbn is in itself tranquil and graceful. The scena from
Idotneneo, the madrigal, and Mr. Gioss^s glee, were effective* and
left the audience regretting that the concerts had come to a close
&r this season.

DR. CROTCH'S ORATORIO, THE CAPTiriTY OF

JUDAH.

This, the latest work of the music-professor to the university of
Oxford, was first produced at the installation of the Duke of Wel-
lington, but it caimot be said to have been heard on that occasion,
fdr the theatre during the whole week better represented an
assembly of North American savages, than a convocation of
learned .men, of gentlemen by birth and education. It is true that
a silence was obtained while many of the pieces in the oratorio
were sung, but little or no attention was paid to them; every
fanpast appeared agitated, every countenance betrayed violent
party emotions, and all seemed prepared for acts not much unlike
those which the poet has declared to be at mortal strife with the
'* concord of sweet sounds.'

Desirous of giving a fair hearing to the work of a celebrated
composer, and anxious, no doubt, to produce something of an
attractive kind, Mr. Vaughan performed for his benefit, m May
last. Dr. Crotch's Captivity of Judah, which brought together
most of the lovers of wnat may be called the solid style, while of
the admirers of the ultra-modem school very few indeed were
present

The libretto of this oratorio consists of a collection of texts from
scripture, chiefly ^f a prophetic and ejaculatory kind, the events
shadowed, not narrated ; thus following the plan adopted by Mr.
Jennens in compiling for Handel the words of The Messiah.

Hence k waflts that wUeh wutAi oereases the ^fibct «f "wluit it
properly temed an oratorio— ^dramatic intereat.

After a mn&le -hearnig of « great ai>d exteiuive woi^ rf ^M»
kmd, it wotiU be unjust borti to the ccmoposer and oar rea^ken ta
attempt m eritidsm of its Tarious parts : « general fpimoB is «H
that can be reasonably expec^d or -eonseieniioitsly given, wfc«
there is no score, not even a single air, to which reference <»n te
made to refresh the tnemcry and assist the iudgnent. Birt as
whatever comes from the pen of liie present Oxford profew o r ao-
quires im p orta n ce from the lunk he so deserrediy lields, inde-
pendently of its own intrinsic merits, be they what they nMy, we
insert a fiill program of the oratorio, which will -show its eactent*
and enable those who did not hear it to form aome idea cf tlie pSaa
"and nature tit the woric.

Oveitura.

( RedUtive, Base, ' Hear, O h«H«ns 1'
(Air, * I have nourished and brought up children.'

Chorus, * Ah, siufid natinn !'

Chorus, * The whokhtad is aiclL*

t Recitative, Baae, < ShaU I not viatlbr these thisga? saiih the Lord.
Air and Chorus, * Oo ye up upon her walls.'
RecitatiTe, Tenor, < Ht-ar now this, O foolish nation.'
Ahr, ^ Lo ! I bring a nation ajcainst jrou.'
Airand Chorus, < A lound of battle is in the land.'
Air, Sonrano, ' A voice decbreth from Dan.'
Air, oo. ' My people are fooUsh.'
fReeiUtiTe, Base, ' 1 beheld the earth, and lo !'
( Air, < And all the cities.*
Duet, Soprano and Tenor, ' O ! that my head were waten.'
RecitatiTe, Soprano, ' The mirth of tabrets ceaaeth.'

Chevus, ' For this, giid you with sackdoth.' ^ » ^ - ^

Quartet and Chorus, Soprano, Alto, Tenor, and Base, * Remember, O Lord, what
is fallen upon us.'

Pa«t II.

Recitative, Tenor, 'X) God I how long shall the advensiy leproach ?'

Recitative, Base, * Remember thb, O Lord.'

Recitative, Alto, * Have respect unto thy covenant.'
/Recitative, Soprano, < O let not the oppteaaed return ashamed.*
(Air and Semi-Chorus, < Trust ye in the Lord.'

Chorus, * Open ye the gates.'

Recitative, Tenor, ' Oo ye forth of Babylon.'

Chorus, ' Babylon is fallen.*
/Recitative, Soprano, ^ We would have healed Babylon.'
(Air and Chorus, * Come, let us declare in Zion.

Recitative, Base, < The kings of the earth bewaU her.'

Trio, Alto, Tenor, and Base, « Alas ! alas! that great oty BshyUm.*

Chorus, ' Babylon is fallen.'
/Recitative, Soprano, ' Israel is as oeattemd sheep.'
I Air, • But he shall feed on Carmel.' .

Quartet, Soprano, Alto, Tenor, and Base, 'Then 4iaU the viigin xejoRe imtti
dance.'
/Recitative, Soprano, * What do ye imagine agaiaA the Lord?'
I Air, * The Lord is good.'

Chorua, * Look down from heaven, O Lord.'
/Recitative, Tenor, < Thus saith the Lord.'
(Air, * Of the increase of his go\emmeDt.' ,. ». j

<)uintet, two Sopranos, Tenor, and two Basses, ' Violence ehaU no mote he bBud
in thy land.'

Chorus, ' Sing unto the Lord.*

' O Lord, thou art our Father.'

Semi-Chorus, < O turn not away.'

Chonis, * Hallelujah. Jmtm.*

In the overture Dr. Crotch has yielded in a degree to a style
more modem than that of Handel, who has commonly hem.
imitated in such instrumental introductions to sacred music. It
is by no means an incongruous or unpleasing union of two wtj
different schools.

The First Part of The Captimtyof Judah we thiak fiilly eqaal
if not superior, to any portion of IPalestine, always excepting th»
exquisite quartet, ' Lo ! star-led Chiefs : ' it shows more freedom
from the restraint imposed by a long study of, a devoted attach-
ment to, the old masters. For great as these are, and excellent
as models, they have their weak points, which a blind admiratiot
is apt to mistcdce for beauties, and as such to imitate. In this
Part the melodies are more fresh, and the acoompaniments more
new, than those in Dr. Crotch's other oratorio : Viis imaginsticm,
as if beginning to feel the government of precedent irksome, takes
a freer range ; his choruses are cast in a mould less deep, — using
the epithet in the musical, not philosophical sense — but better
calculated for that kind of effect which true criticism always did,
and always will, consider the proper aim of an intellectual com-
poser addressing" himself to an intellectual audience.

The Second Part of the oratorio falls off, and thougli not long
in pecfimnance, proceeds rather heavily : but the chorus, ' Baby*
km is &llen!* a finely eonoeived, ^ost ably executed, and
exceedingly striking oosnposition, is «n exception^ Jtnd of a vaj
decided kind.

We beg leave to snbtnitto the oompssmr, whelber it WMildMt
be desirable to revise, or even re-write, Biueh -of flie second iialt

■-n

THE MUSICAL UBRARY.

oC bis oratodo ; he might thus render the whole a work highly
useful at our grand provincial (we may now say our London)
fiBfl^valB> where two or three of the choruses would produce very
eonsiderable effect. But from the score, even as it at pres«Qt
stands, selections may be made whiek would beneficially enlarge
the repertoire of sacr^ music, and assist in producing that
tariety the want whereof is occasionally mnch lEelt.

REVIEW.

L Anthev, ' My Sbnl doth Magnify the Lord/ the Gresham Prizs*

Composition. Composed^ and very dutifiiUy inscribed to Her

IfAJXSTTy by Charles Lucas, Cofnpo$er and Violoncelliit to the

Queen. &c. (J. Alfred NoveHo.)

2. Offbrtorium* * O Jesu 1 O Pastor bonus ! * For a Soprano^ vnth

an organ or pianoforte aceompaniment. Composed by C. Gur-

nbmer. (J. A. Novello.)

Oor readers are aeware that the Gresbam Professor of Musie gives anauaUy
a small prize, Car Ihe best sacred cempoeiliott in foar or aaoce real parts.
The last was awarded to the composition now before us, which may be
considered as a musical study, in which effect is less the object than
the display of what is called (most improperly caliedy musical learning.
Viewed, then, as a study, this is a clever work, in which canon, though
not of the most rigorously severe kind, and fugue, are all in all, and
these, no doubt, delighted the grave gentleman who sat in judgment on
the occasion. We congratulate Mr. Lucas on his success, because no
doubt it afforded him pleasure* and enabled him likewise to publicly
acknowledge his gratitude to his illustrious patroness ; but as he is ca*
]»ble of far better things^ we trust that he will never 'again bestow his
time on canons, even those in the unison, and but rarely on fugues.
There is nothing original now to be hoped for in the latter species of
composition, and if he wishes to be ranked as an intellectual musician,
be will with this publication bid farewell to the former.

■ i> I ■ III ■■
Mr. Gruynemer^s * Offertorium' possesses many charms, both of melody
and harmony ; but, according to our Protestant notions of sacred nmsic,
k is rather too florid to be quite appropriate to the words. However,
tins is matter of opinion : considered merely as a vocal composition,
it is extremely pleasing, and shows both superior taste and skilL

1. Regit ATivo and Dubtto, * Quando di sangue tinto,' in ihe opera
of Belisario, composed by DoNizErri. (Chappell.)

2. Duet, * Astro del ciel Francese,' in ihe opera of II Colonello, com-
posed by Ricci. (Chappell.)

3. Duetto, * Soffriva nel pianto,' in the opera of Lucia di'Lammer-
moor, composed by Donizetti. (Mori and Lavenu.)

4. Aria, ' Cruda funesta smauia,' do. do. da

5. Arietta, ' Fra poeo a me,' do. do. do.

No. I is here given as performed at the Fenice theatre, Venice. It is
in two movements, a Largheito, and an Allegro Moderator both in a.
The whole is easy, and moderate in compass. That this is alia Rossini
we need hardly say, but it is not a copy. It will please in most &shion-
able circles.

No. 2 is from an opera that has had a run at the Neapolitan theatre
del Fondo, is pretty, and demands no 'exertion from either singers or
accompanyist.

No. 3 — a favourite at the great theatre San Carlo, is in one short
larghetto movement, running chefly in thirds, rather graceful, but we
need hardly add, not exhibiting a new trait.

No. 4 is a brief, agreeable, slow Cavatina, with an ^accompaniment as
easy to play as the air is to sing.

No. 5 may be described in precisely the same words as No. 4.

FOREIGN MUSICAL REPORT.

DRESDEN.

A series of characters^ performed at Ihe eoort theatre, by Madlle. Sabine
Heinefetter, have been to us a great source of enjoyment, and afforded
an opportunity of judging of her merits. This justly-celebrated
songstress was with us five or six years ago, and then enchanted the
public. On this, her last visit, We observed that she had gained much
in experience, but had lost somewhat in personal appearance and
sonorousness of voice. No impartial connoisseur could deny that she is
still a vocalist of a very first-rate kind, but he must at the same time
confess that the brilliancy of her youthful voice is gone. She does not
seem to have been pleased with her reception here, having considered

it rather cool, which it certainly was ; not on account of any want of
interest for Madlle. Heinefetter, but because our public are a cold-
blooded race, and can hardly be excited to enthusiasm. They had«
besides, lavished so much praise on Mad. Schroder-Dtovrient, that little
was left to bestow.

Madlle. Wieck has been figuring in smal} circles at court, and in a
concert given by herself. She is a wonderful bravura-singer for her age.

The celebrated violinist, Merk of Vienna, has passed through this
place, but has merely played in private. His tone is enchanting, his
caniabile is perfect, while his compositions abound in taste.

On the 4ib of February, M. Emile Blankmeister gave a musical en-
tertainment in the hall of the Hotel de Pologne. This concert, at which
he played a grand piece by Kalkbrenner, accompanied by the orchestra,
a fantasia for the piano- forte alone, by Beethoven, and variations and
Rondo di Bravura on the concluding chorus of the Vestal, proved
him a skilful performer, and served to display the variety of his musical
ideas as a composer, as the last-mentioned variations were by himselC
M. Vestri, who sung an aria by Rossini, and another by Mozart, and
M. Bayer, who executed variations on the tenor, shared their merited
' applause with the concert- giver, who had proved his discernment in the
selection of such distinguished artists.

CASSEL.

We give our readers a record of our musical events, from August^
1835, to January, 1836. The month of August brought us several
guests who are deserving of notice. Madlle. Weixelbaum, of the
Coburg-court Theatre, appeared as Jessonda, and Emmeline (in the
Swiss Family) 9, and sung, not without applause. Youth, freshness of
voice, and skill,, are good letters of recommendation, and secure a &•
vourable reception. M. Nissen, of the Fosen Tlieatre, appeared as
George Brovm, in the Dame Blanche^ and met with but partial success.
Bertha Lewig, pianist, and Louis Lee, violoncellist, both from Ham-
burg, gave a concert, in which tljey reaped much applause—rlittl^
money. On their journey back they met with similar success. The.
Elector's birth day (20th August), was celebrated by military serenades
and reveilles, and tlie performance of Ali Baba. The choice of this
composition to celebrate such an occasion was good, even thougli the
means were not adequate to do it full Justice. It is highly interesting to
observe the struggling of Cherubini against the spirit of the times,
mingled with a disposition to yield to it, and to compare this work of
his old age with his youthful productions, The Waiercarrier, Lodoiska.
&c. The caste was as follows : Ali Baba^ M. FCppel ; played with his
usual skill, though the character of the old treasure-seeker possesses
no extraordinary interest. Nadir, M. Schmidt ; good, if we except the
high notes. Abul Hassany M. Birnbaum. Morgiana, Madlle. Meissel-
bach. The getting up of this opera, as far as concerned decorations and
ballet, was worthy of the composer and the occasion. It has been once
repeated, and in spite of the indifferent libretto, affords a great treat to
an audience of a cultivated taste. September brought little that was re-
markable ; WeigKs opera, Adrian von Ostade, was revived and gave
satisfaction. A. M. Freymilller of Weimar, appeared as John of Paris^
and Rodrigo (in Otello) ; he has a fine tenor voice, and was, on the
whole, well received. October was rich in musicaL events. Our first
tenor, M. Dams, and Madlle. Meisselbach left us; to supply the place of
the latter, a Mad. Matys of Hanover, made her debut in Fidelio^ RexiOj
and Rose in Des Adlers Horst (the Eagle's Eyrie). AJthongh Pide^
lio was sung ratlier weakly, it was soon observed that Mii^. Matys
had powers which might produce something excellent, and this promise
was fully performed in Rezia, although even that was not one of her
best characters. She was engaged, and became one of the ornaments
of our opera. In the VestcU, and the Jewess (in the Templar)^ she was
brilliant. Her Alice (in Robert), and Roschen (in Faust), characters
which bear a serious stamp, were likewise heard with approbation. To
supply the place of M. Dams, we had a M. Heim from Niirenbcr^. who^
in the parts of Otello, Zampa, Fra LHavolo^ and Licmus ( Vestal),
particularly in the first two, received considerable applause. His later
characters which required his dramatic power, as Cmmt Atmavioa (It
Barbiere), Armand {The Watcrcarrier), Huon {Oberon), Hugo
(Faust), Robert the Devil, Tybalt^ and Wilfrid (TemplarX were his
Buccessfiil ones, though, we confess, he might have done modi better, by
making more use of his deeper notes, and indulging lass in his fiilsetto.
His wife, who made her debut in the Princess of Navarre, Kumgusid
(Faust), and Countess Armand (Wdtercarrier), met with deserved
applause. She likewise performed Peki (Broruce Horse) admirably.
Mad. Greenberg has also left us, and her place has. been supplied by
Madlle. Mons, who has been well received in Fatima, and several other
parts. She is young and has a good voice, combined with industry and
love for her profession. The month of October brought with it an old,
nearly forgotten opera, by M^hul, Je toller je besser (the more mad
the better), to the great satisfaction of many. At the close of the
month, Friebe, the blind flutist of Breslau, gave a concert, supported by
the Cecilian Union founded by Spohr. He met with applause.

In November we had Auber's new opera, Lestocq. Had our singers
been good actors, this opera might have done something ; unfortunately
such was not the case. Elizabeth was filled by Madlle. Pistor. This is

THE MUSICAL LIBRARY.

a part wbicli requires acting as well as singing, and the lady of course
shone more in the latter than the former. M . Heim was Lestocq. M.
Foppel, Goloflkuir (very good). . Mad. Matys, Eudoxia, She played
well, and her aria was honored with applause. The opera pleased, and
has frequently been repeated. In December we had several revivals,
and January introduced us to Auber's Bronze Horse. Many have
found fault witli this opera, perhaps unjustly ; what Auber had left in
him, he gave us, with here and there reminiscences of himself : never-
theless he proved agreeable, and often new and piquant. M. Schmidt,
as Hang^ did not diminish the tedium of the first act by his long aria :
in his duet with Madlle. Piytor, as Stella^ in the last act, he succeeded
better. M. Bimbaum was admirable in Toing-nng ; Mad. Matys, as
Tao-jin^ distinguished herself both as a singer and an actress; M.
FOppel was excellent wiTschin kao.

And so much for our operas. Now for a word or two respecting our
concerts. On the 15th of December, Philipp Fierlein and Philipp
Kaiser entertained a small audience by their distinguished playing on
the guitar, to which M. Kaiser added some variations on the flute. At
this concert, Fanny and Chsirlotte, daughters of the singing-master
Lieber, made their first appearance in public, and succeeded. The
Weigand Vocal Academy gave Bernhard Klein's oratorio of Jephtha
for the benefit of the poor. This splendid composition quit(i transported
a numerous audience. The clioruscs, the pait of Jcphiha (by M.
Schmetz), and that of Iphis (by Mad. Dettmer) were particularly suc-
cessful. The Electoral Hofhappelle have given two concerts : the first
(on the 27th of November) opened with an overture by Reissiger ; then
Spohr, with rapturous applause, played a new concertino on the violin,
and the whole concluded with the Spring and Summer from Haydn's'
Seasons. M. F6ppel took the part of Simony Madlle. Pistor that of
Hannej and M. Schmidt that of Lucas. Great is the enjoyment to
those who hear this splendid composition !— a work simple as true —
beautiful as original ! Tlie second concert opened with Mendelssohn-
Bartholdy's overture to the Hebrides {The Isles of Fingal)^ one of that
talented composer's piquant, and occasionally bizarre, works. It met
with general and deserved plaudits. Next came an aria by Spohr, sung
by Madlle. Pistor ; she always excels in the concert-room : though
Spohr's songs require something more than mere voice and vocal talent ;
they demand real and deep passion. A violin concerto by Mayseder,
played by Wiele, received great applause, on account of the light, easy
execution of this distinguished artiste. In the second part we had
Spohr's Weihe der Tone {Consecration of Tones); a rondo by Dot-
zauer, played by his son ; and the whole concluded with the finale to
the second act of Don Juan, which is in general somewhat obscured by
the shower of fire. How some persons, and those musicians, can be so
perverse as to call this finale flat and insipid, we are at a loss to con-
jecture.

PRAGUE.

The Christmas Concert of our Musical Society was distinguished by its
Tery happy choice of compositions. It opened with the introduction
£qu. overture?] and Hallelujah from Handel's Messiah, which, admi-
rably played as it was, produced great efl'ect, notwithstanding the mu-
sical productions of last year had almost rendered our ears unfit for
the reception of this musical giant. It was followed by an aria from
Mozart's Davidde penitente, sung with great applause by M. Emmin-
ger, who^not only showed that his voice is ^better adapted for the con-
cert than' the sUge, but by his noble style of executing this piece, ex-
hibited himself as an accomplished singer. The concluding chorus and
fugue from the new oratorio, Der Erloser (The Redeemer), by Herring,
made us acquainted with this young composer, who is one of the most
astounding phenomena of the time, for, besides feeling and dignity, he
displays a study of the classical masters, which in these days we rarely
hope to meet with. The second part was occupied by Beethoven's
Mount of Olives^ a work of quite a difiereut character, Beethoven never
confining himself strictly to the church style, but usually blended with
it something of the dramatic. Mad. Podhorsky as the Seraph^ M. £m-
minger as Our Saviour, and M. Strahatz as Peter^ sang the solos to
great perfection.

On the 9th of January Mad. Friedrichs, first harp player of London,
(so said the bills,) gave a grand vocal and instrumental concert, be*
ginning with an overture by Pixis, which did not altogether succeed.
This was followed by Bochsa's Erin's Bardic Effusions^ a grand fan-
tasia for the pedal harp, played by Mad. Friedrichs ; she proved herself
a highly gifted artiste, though the composition itself told but indiffer'*
ently. English compositions are not only of a totally diflerent kind from
those of niince and Germany, but, what is still worse, they closely re-
semble what was in vogue ten years ago, and are now quite out of date.
Besides, national themes are only effective in their own country. We
know too little about the Irish to take any great interest in their melodies.
After an aria from Rossini's Bianca e Faliero, sung by Madlle. Pro-

kesch. Mad. Friedrichs played another fantasia on the pedal harp, which
was decidedly the most interesting piece of the whole : she was re-
peatedly called fur. M. Miidner played on the violin Variations hril-
lantes by Beriot with the most unquestionable success. The whole
concluded with Bochsa*s Reminiscences of Scotland, played by Mad.
Friedrichs — a far better composition than the Irish Reminiscences.

For the benefit of M. Preisinger, and after a long and tedious
absence, Mozart's Figaro made its appearance on our boards. The iu-
different success last year of Don Juan had raised some distrust in
Mozart's compositions, but the innate strength of the really beautiful
displayed itself so forcibly, that the house was crammed in every comer,
and Mozart's Figaro found as enthusiastic a public as at its first ap-
pearance half a century ago. Tlie overture, though not played with all
that precision which once distinguished the orchestra of Prague, was
rapturously encored. M. POch, by his singing Will der Herr Grafein
Tdnzchen wagen f (Will the noble Count dance ?), received the most
boisterous applause, and was twice called for after every piece he sung ;
he seemed inspired by the very spirit of Mozart. Mad. Podhorsky and
Madlle. Lutzer both distinguished themselves in the characters of the
Countess and Susanna. M. Strahaiz played the Count and failed from .
the unnatural management of his voice. Few singers make so bad a use
as he does of the very rich gifts of nature. Madlle. Sazedi performed
Cherubino with taste and feeling, though she fails in discriminating nice
shades of character.

FRANKFORT ON THE MAINE.

Many foreign artistes, great and small, came amoiig us last winter ; the
great ones to delight, and receive the reward of their merits, the small
ones to transfer, how they could, the loose coin from our full pockets
into their own empty ones.

First appeared Lipinski the violinist, firom whom fame had taucht us
to expect great things, and who, by his two concertos, did not in the
least disappoint us. They were of his own composition, and displayed
a deep knowledge of his art.

A second guest was the evergreen Bernhard Romberg. His concert
was attended by throngs, and he made our cold-blooded public utter the
loudest acclamations of applause. Criticism on B. Romberg would be
superfluous.

The third was Blirmann, the clarionet-player from Munich, who came
to prove to us that genuine talent can never grow old. We fear that he
did not profit much by his visit.

THE DRAMA.

The materials for this department of our work still continue very
scanty ; or, more correctly, amount'to nothing. At the King's Theatre,
/ Puritani and La Sonnoanbula ring the changes, cast so nearly the
same as last season, that it would be loss of time to mention the dif-
ference. A new opera by Mercadante has, from the very commence-
ment of the season, been promised, but, we believe, not yet put into
the copyist's hands. Owing to the comparatively few parties now
given, the opera fills, for, say the fashionable world, * we must go some-
where,' and the English theatres certainly are not the fashion. Of
the four principal performers at the opera, three, namely. Mad. Grisi,
Signors Lablache and Tamburini, undeniably are excellent, but appear-
ing in only two characters, they, in spite of their talents, lose all
attraction for those who go to the Kjng*s Theatre for the sake of the
music.

Madame Malibran di Beriot has been performing at Drury-Lane
Tlieatre, during the greater part of last month, in Fidelioj and in the
Sonnambula. In both she has displayed, as usual, the highest traits
of genius and finest vocal powers, mtermixed with proofs of the most
perverted taste and erroneous judgment She fills the house, which on
other nights is deserted by the paying people, and transfers into her
purse more than half the net receipts of the lessee. While our present
Number is printing off, a new opera, composed by Mr. Balfe for
Madame Malibran, will be performed for the first time. If rumour is
to be trusted, this will prove a work of very greft merit.

TO READERS AND CORRESPONDENTS.

Taa benefit-concerts of the season, ia our neact.

The ■iipcrabundance of temporaiy matter obliges ns again to postpone som^
articles ; ai well as answers to correspondents.

LONDON : CHARLES KNIGHT, 28, LUDGATE STREET.

Panmo bt W. CLOWES Ana SONS, Doai Bnam, La]ibstb«

Tie;

MUSICAL LIBRARY.

No. XXVIII. JULY, 1836. Price Sixpence.

The Music of 'Part XX VIII/ .... 97*
£cclet»iattical Choiis of Great Britain & Ireland 98
Church Music ..•••..•• 99
On the Benefits conferred on Music by St.Dun8tan 99
Stradella and Hortensia •••••• 100

CONTENTS.

Tmam
The New Musical Fund Concert . • • .101
Ancient Concerts ••••••••102

Philharmonic Concerts • 103

The Catch Club .•••*••« 103
Royal Society of Musicians • • « • .104

Page
Eistoddvod and Cambrian Concert • • 4 104

Benefit Concerts * 104

Review 105

Foreign Musical Report •106

Drama • •••••••••• 108

err-:

,4'JC

THE MUSIC OP PART XXVIII.

A Selection from the First Quintet of MOZART —
(Page 161).

We should most willingly have arranged and given the whole of
this admirable work, had not its great length proved an ob-
jection ; we have, however, adapted not only the most generally
admired^ but the best parts of the quintet.

RoMANZA— (Page 168).

From an early work by Hummel. (See vol. i., page 26.) For
the few bars oilntroduzione the composer of the Romance is not
responsible.

Chorus from BELLINPs iVbrwa— (Page 170).

This subject is very popular on the continent ; and M. Dejazet's
variations — of which we have chosen such as are, in our opinion,
worth reprinting — are among the best that the composers of Paris
have lat^y produced.

Polonaise — (Page 174).

Composed by Madame

marie szymanowska,

a richly-gifted, elegant Polish lady, who, finding it prudent to
convert an accomplishment into a profession, was appointed chief
pianiste to the present Empress of Russia ; then travelled into
various parts of Europe, giving concerts, and arrived in London
in 1824. She immediately accepted an invitation to perform
at the sixth Philharmonic concert, at which she played Hum-
mel's finest concerto, and was pronounced by all the connois-
seurs to be a most finished performer. She subsequently had
a benefit concert, at which * the princess Augusta, the duchesses
of Clarence, Kent, and Gloucester, were present, and many other
persons of the highest rank^' Shortly after, Madame Szyma-
nowska travelled slowly back to St. Petersburgh, but did not long
survive her return, dying in the prime of life, and while her
musical talent was fast attaining that degree of celebrity, which,
had she not been cut off so early, must have been its reward.

Arioso — (Page 176).
Prom the first sonata of Clementi*s Opera 9. Those who are
not aware of the influence which fashion has hitherto had in mu-
sical matters, will be surprised that an air of so much beauty — ^in
which there is not a phrase, not a single cadence, that bears the
mark of age — should so long have lain neglected: the time, how-
ever, is Approaching, if not actually arrived, when such music
inust regain its ascendancy, and the reign of unprofitable, inane
difficidties cease.

Vol. III.

Cayatina — (Page 161).

Sgombra i miei dubbi, o ciek> t
Togii a mla mente il velo«

No, non h colpa amore,
£ sei tu stesso amore.
S' ei fu per me perduto^
Da me riceva aita ;
E se fu mio V errore,
Mi& sia P emenda ancor.

From the opera, Ismalia, ossia, Morte ed Amorb» composed by

SA VERIO MERCA DANTE,

one of the earliest imitators of Rossini. He was bom at Naples
in 1798, and studied music in the Conservatorio San Sebastiano,
under Zingarelli. His first compositions were of the instrumental
kind, but by the advice of his master he turned his attention to the
lyric drama, and his coup d'essai was L' Apoteosi d* Ercole, pro-
duced in 1819, at the Teatro San Carlo. In 1821, he brought
out at Bologna what is thought his best work, Elisa e Claudia,
He is likewise author of many other operas. Of late years, how-
ever, he has devoted himself to the composition of sacred music,
in which, it is said, he has manifested a very superior genius ; but
recently he has returned to the theatre, and if his retirement has
wrought a change in his style, such as the present very elegant
cavatma evinces, he may yet prove — what was many years ago

Predicted of him — to have been ' born to trouble the repose of
lOssini.* His last work, / Briganti, lately brought out in Paris,
has been much extolled by the French critics, and was promised
at the King's Theatre this season ; but on the musical criticism of
French journalists, and the promises of the French manager of
our Italian Opera, equal reliance is to be placed.

Glee— (Page 164).

In Summer's cool shade how delightful to sit !
In Winter how social, when few friends are met !
In Autumn ripe fruits our palates regale.
In Spring we delight in the blossom'd sweet vale.

Each season has pleasure and blessing in store ;
Be content and be happy, and wish for no more !
For know, the best season to laugh and to sing,
Is Summer, is Winter, is Autumn, is Spring.

Written by Dr. Stanley, concerning whom we have no informa-
tion. The music was composed for the Chapel- Feast* in the year
1788, by Dr. Arnold (see page 26), of whom we may here re-
mark, in addition to what has sdready been said of this charming
composer, that his happy temper and cheerful mind — so invariably
exhibited by him as first president of the Glee-Club, as well as in
every other situation — were in exact accordance with the sentiment
of the present glee. We will also supply what was omitted in
our former notice of Dr. Arnold, by stating, that his composi-
tions for the church are numerous, and many of them so excellent,
that their having hitherto remained unpublished is a serious in-
jury to our church establishments, and the source of great regret

* The Chapel'Feaai'WBM an annual dinner of the priests, composers, oif^amsts, and
gentlemen of the Uoyal Chapel, each having the privilege to bring a fnend. The
king supplied venison, claret, and a sum of money ; and the extra expenses wer«
defrajea by two stewards, chosen every year out of the body at large.^ This social
meeting, wnich had been held from umost time immemorial, wan discontinued a
few years ago, when, iustead of the contributions from the royal parks, larder^ «ad
cellar, a pecuniary compensation wag accepted.

THE MUSICAL LIBRARY,

to all who know their merits — ^who set a true value on the judi-
cious mixtuie of the severe ancient with the more mekwous
modern style of ecclesiasftical music.

Duet— (Page 170).

Soft 18 the zephyr's breezy win^, ^
And balmy is the breath of spring, *
When o'er the silent, dewy vale,
Its variegated sweets exhale,
Stolen from the freshened flower^
Glist'ning with an evening shower;
From the violet's nectar'd dew,
And the rose of blushing hue !

The author of these lines is unknown. The lovely duet was com^
posed by

• • • • • T. A. GEART^

a native of Dublin, and a most promising genius, who died at on
early age, just as the great superiority of his talent was beginning
tonnaniiest itself \

RoMANteEr— (^Page 174).

Expectation .

The lady's fair hand a swift falcon bore.
And she has sent him the blue lake o'er ;

May'st thou come soon !

Through darksome woods the falcon flies ;
From morning dreams must the lady arise.
May'st Uiou come soon !

The kaight eross'd the lake with the fakon so tnie^
His bugle with grief and joy he blew !

May'st thou come soon !

IVsDslated from the German by John Oxenford, Esq.
music by Mendelssohn, from his Zwolt Liederj Op. 9.

The

Smo— (Page 176).
1.

Peaceful slumb'ring on the ocean.
Seamen fear no danger nigh.

The winds and waves in gentle motion,,
Soothe them with their lullaby.

Is the wind tempestuous blowing*

Still BO danger they descry ;
The guileless heart its boon bestowing^

Soothes tliem with its lullaby.

In the opera of The Pirates, written by James Cobb, author of
the Haunted Tower, Siege of Belgrade, No Song no Sujmer,
&c.; the music composed by Stephen Storage. (See vol i.,
p. 6.)

THE ECCLESIASTICAL CHOIRS OF GREAT BRITAIN
AND IRELAND.

[Cootinaed from pa^ 7&]

No. VII.— ST. ASAPH.

Tbb present cathedral was erected in the reign of Edward I.^
under the superintendenoe of Bishop Anian : by his immediate
successor^ Leoline de Bromfield> the choral service was re-esta-
blished^ and the endowment of the choir considerably augmented.
The latter ordained, with the concurrence of the C^n and
Chapter, that all who shared in the impropriation of Godelwem,
in Merioneth, should be present in the church of St. Asaph at all
canonical hours, and that all the priests should alternately chant
the service, cum noia, in regular course, according to the dfirection
of the precentor. It was also ordained that the dean and pre-
bendaries of Vaynol and Llanufydd, should provide three priests,
being good singers and expert in the science of music, to assist
the vicars-choral, and that the archdeacon should send a person
skilled in sinking and organ-playing. The prebendaries of Alt
Meliden and Llanvair are required by the same authority to fiir^
nish four boys, being good singers, as choristers for the daily
celebration of divbie service. . In the reign of Edward III., the

rectorial tithes of Nanelyn were appropriated to tlio ?iQii9^
choral.

The eonstitutidns of Leoline were caonfrmed in 1558, when tW
mensbers of the church eonsieted of a

Dean, Four minor Canons, or Yicars^choral^^

Archdeacon, Three Chaplains,

8«b-deani One oreanist, and

Precentor, Four Choristers.

Ten Canons,
But the choir were maintained chiefly by subscriptions of the-
church members, ' or,' says Browne Willis, ' the inferior members
could not have subsisted.* In 1669, however, when the eminent
Dr. Isaac Barrow was advanced to the see, the effective members-
of the choir were once more endowed, and a maintenance was af*
forded to the individualsf officiating in the service of the cathedraL
He gave the rectory of Llanrhaidr, and all the glebe, ftc, for
defrajring the expense of repairing the church, and for the eutg-
pientaiion of the revenue of the choir thereof

The value of this increased to a very considerable amount ; and
in 1814 the dean and chapter obtained an Act authorising a new^ -
.distribution of the funds, by which they are, we fear, enabled to-
dole out but a small proportion of them in support of the choir^
which, of course, is served according to the salaries of its members^
The choir now consists of the
Organist,

Four singing men.
Four singing boys, and
Two Supernumeraries.

The classical instruction of the choristers has been very recently
abandoned, and the boys have no other education than what the
organist and parish school afford them.

BANGOR.

The British cathedral of Bangor flourished in the sixth century*,
but was involved in the struggles of a brave people to procur^^
their independence. In the reign of Ekiward 1., it again rose to-
eminence. Bishop Anian compiled a missal, or service-book, for
the direction of his clergy; and the preface to the book of Com*
mon Prayer bears testimony to the hi^h reputation which this
compilation obtained, under the name of The Bangor Use.

The vocal choir was no less celebrated than its liturgy. Aa
ode is still extant, composed in praise of Howell, Dean of Bangor,
(in the time of Edward III.), * whose organ and harmonious^
choir are unrivalled in performance.*

The superior clergy of this cathedral contrived to grasp nearly
the whole of its revenues for centuries, insomuch, says Willis, that
' the cathedral service and fabric were supported solely by oontri'^
butiont from the bishop and chapter ; and what they could get by^
begging was appUed to this use.* In 1685, Bishop Lloyd and
Dean Humphries obtained au Act for the endowment of the choir
with a portion of the tithe arising in the parish of Llandinam*
'i'his revenue was not applicable to their appointed use till 1698^
at which period may be dated the settlement of the choral esta-
blishment, consisting of

An organist.

Four singing men, and

Four choristers,

who are now the efficient members of the choir. Exclusive of the
four endowed choristers, are certain grammar scholars, who re«
ceive a classical education in the Free Grammar School ; and the
organist of the cathedral is responsible for their musical attain-
ments.

The dean and chapter of Bangor made application to Parlia-
ment in 1813, for an amkndicd act, similar to that obtained by
the dean and chapter of St. Asaph, but the attempt was aban-
doned in consequence of a petition from the choir to the Lord
Chancellor ; and by a new distribution of the funds under the au-
thority of the court, the salaries of the choir are very considerably
augmented. For this they are indebted to the undaunted cou-
rage, the ability and indefatigable activity of tlie organist, Dr» '
Joseph Pring, who fought the battle with a spirit that ought to
put to the blush the members of other choirs, who tamely submit
ito injustice, and patiently witness the consequent degraded state
jof the service of the respective cathedrals, wbereof they are too
submissive, not to saiy unworthy, memlers. By Dr. Pring's ex-
jertions, the choir snare aroon^ tiiem 3b8/. 10*., instead of II 0/,,
which will continue to inerea5e as the tkhes advance in valuew

. THE MUSICAL LIBRARY.

«9

He eondidly acknowledees* that the result of his eflbrts was not
-ao satisfactory as he had expected, but he did much ia obtaining

Srdief at all from the oppression of a dean and chapter, con-
ring who held the great seal at that time.
The consequence of this success has been, imperfect as Dr.
Pring no doubt very justly views it, that the choir service, which
had Deen wholly disused at Bangor, is now restored and per-
formed as regularly as in other cathedrals*

BRISTOL.

This cathedral was founded by Henry VIIL, who provides for the
anaintenauce of a

Dean, Clerks,

Prebendaries, Choristers, and

Precentor, Grammar Scholars.

Minor Canons,
He established a free-school for the liberal education of youth,
with a grammar-master and usher, a music-master and organist.
In the selection of grammar-scholars, the statutes enjoin that they
shall be poor friendless boys, — ' Pueri pauperes, et amicorum ope
destituti.' In describing the choristers there is no such limitation;
they are merely required to be ' pueri tenerae setatis, et vocibus
aonoris, et ad cantandum aptis.'

By the judicious arrangements of the present dean, the number
of choristers has lately been increased from six to eight ; they re-
ceive daily lessons in music; are all taught reading, writing, and
-arithmetic, and their classical instruction is entirely optional.

The bishopric is valued at 1200/. per annum, and the deanery
at 1000/. The prebendal stalls at 500/., with a living aimex«l.
The precentor and organist have about 100/. a year: the minor-
eanons and lay-vicars, 40 guineas, the former with livings ; and
the choristers from 5/. to lOl. each, according to merit; they are
also freely educated *I was told,' continues our informant,
' that an agreement exists between the dean and chapter and the
lay-vicars, by which only three of the latter are required to ap-
pear together on week days.

* From a fortnight's attendance at the service, beginning on the
Ist of May, 1832, I can assure you that these gentlemen are very
careful not to exceed the mark : on the week-days during that
period, there were never more than three present; on three morn-
mgs only two; and on the evening of the third there was but one.
On the three Sundays five vicars appeared : viz. two altos, two
tenorSy and one base. There is, I conclude, a vacancy for the
latter voice.

' Some forcible remarks have appeared in the Hamumictm, on
the absurdity of doing choir-service with only one voice to a part,
but the chapter of this cathedral require to be enlightened on this
•ubject. I know not where the fault lies : if the lay-vicars' stipend
is not sufficient to remunerate them for constant attendance, it
ou^ht to be raised : if it be sufficient, the daily performance of
their duty should be insbted on.'

CHURCH MUSIC.
To the Editor of the Supplement to the Mu$ieal Library.

SiH — ^Your occasional remarks on our cathedral establishments
cannot be otherwise than very interesting to all those who, like
myself, cherish a deep and fervent interest for their future welfare.
Taat the musical portion of divine worship at a cathedral is of a
onoBt unseemly and irreverent kind, every mtuician must be con-
Bcioiis; but at the present moment I pass this subject, to refer to
jour repeated statements and comj^amtsof the small and you say
manifestly unjust allowances devoted to the musical portions of
fAeie coBimanities.

I refer to your statements — ^for although I am personally and
sotiaMAely connected with a cathedral, and of course aware of the
truth of your observations on the choirs, more especially as appti-
cdble to the organist, who is in nearly every instance Uie only edu-
cated musician of the establishment, I have not submitted to the
f«bUc m^ feelings, being in doubt whether the subject possesses
mfficient interest for the community at large to obtain their atten-
tioii and exertions to effect an improvement. I hope, therefore,
to ascertain whether you think the Dean and Chapters are the

*^ Id a volume ffivisg an account of the proceedings, under the title of *Fapere.
Uoeumentt, Law Froceedinge, &c.,* in 8vo. Sherwood and Co., Paternoftter Row,

■Aefv*

parties bound to relieve the choirs, or whether it is to the lege*
lature alone that the parties can appeal with propriety.

I need hardly state to you, that in most cases the clerical and
musical members are alike governed and supported by the
statutes of a previous age, so that the musicians can only blame
the careless deeds of their forefathers for the pitiful remuneration
which they now receive. Magnificent indeed were the provisions
for the clergy, but the musician of that period in connexion with
the church, was an insignificant being, the principal share of
the musical duties having been performed by priests. That those
duties are now of necessity performed by lay-persons is manifest,
the science of music forming no part of a clergyman's education,
but that the fiinds have not been re-applied can be accounted for
without any great difficulty. It is clear that for this purpose the
entire institution would require remodelling. A great change
has indeed taken place, and the congregation of a cathedral, who
are now enabled to study and appreciate at home such works as
have been contributed by Bach, Mozart, Handel, Spohr, &c., can-
not, at the time of their public worship of The God, much longer
patiently listen to the frivolous or barbarous performances which
on almost every occasion of service take place. So fervent a
worshipper as Lord Henley would not have been offended at the
cathedral service, if a musician had been permitted to render it
what it might be, and for the honour of the churcli as well as of
his art, had taken care that all sacred music at least was of
standard excellence.

That music is a fit and almost heavenly means of expressing
our love and duty to God at public worship, the feeling of many
ages in unity with our own do testify. But, alas ! Sir, visit a
cathedral, and observe the two or three aged or otherwise ineffi-
cient singers, the wretched music of King or Kent, the organ,
the accompaniment *, and then apply your memory to the care
and skill bestoii'ed at the Philharmonic Concerts on a symphony
of Mozart or Spohr, and think of the one performance as a secular
enjoyment, the other as a sacred duty ! But, as I said, my pre-
sent purpose is rather to inquire what means for the improvement
of the quires you would suggest ?

Allow me to offer an opinion that the most talented of the
musical profession connected with cathedrals — (much afraid I am
that but few of the class can be met with possessing much talent,
and I will not here insert their names, that offence may not be
given to the many who profess but little — the terms afforded
account for the circumstance) — should immediately present to
the legislature a statement of the sums which are now afforded
by the churdi for their subsistence; also an account of the
number of voices necessary to give effect to the music : surely
less than twelve — six on each side — cannot be efficient. And like-
wise a humble petition, that one office (that of organist) be
made in every cathedral of sufficient means (say five hundred
a-year) to secure the constant service of an accomplished musi-
cian ; who shall superintend the musical arrangements, and occa-
sionally contribute compositions of a sterling class, of a good
cathedral school, f

The large sums of money annually obtained in the service of
charity by the art, must reasonably entide such an address to the
attention and consideration of parliament^ and to this small tmt
essential provision for the church service I can anticipate no
serious objection from any party, and by those who are really
anxious for the good government of the Establishment it would
doubtless be receired with satisfoction. These comparatively
trifling allowances might safely, and almost imperceptibly, m
provitkdfor out of the church funds, which it is proposed to dis-
pose of. I am. Sir,

<cc., &€,,

ON THE BENEFITS CONFERRED ON MUSIC BY
SAINT DUNSTAN.

Golkried from ori^nal aourees by G. W. Fink, (Editor of thtf Ji^etmrne
MuMilMiuo&e Zei/aoy,) and trvulated fiu this Wodc

People have long ceased to believe the assertions of certain Ger-
man authors, viz., Prinz and Marpurg, who represented Saint

* I apeiik not of London, where the singera and organists are better, although tbs
number of the former employed is grossly inadequate.

t If our correspondent can prevail on I'ariiament to fix the salaries of organists at
so very liheial a sum as he names, he will be entitled to the thanks of the musioal
world, and of the admirers of our cathedral service ; but he might just as well, at pie*
lent, attempt to effect a change in our climate by legislative enactment. {Editor,)

K 2

too

THE MUSICAL LIBRARY.

Dunstan as the inventor of vocal music for four voices. Correct
as the conclusion is^ that in these early times, there could be no
vocal quartets in any harmonic sense^ the matter has been too
little considered with reference to the sources, which, in whatever
relates to history, should be inspected as closely as possible.
Since, according to Mabillon's account, all contemporary writings
concerning this influential elevator of monks were destroyed by
a fire, we have no writers since the Benedictine Osbert, (called
Osbern by Mabillon,) who wrote the life of the Saint, and, accord-
ing to Surius, flourished at Canterbury in the year 1020, and the
master of Benedictine Annals, Mabillon himself. Osbert, who
is recognised by Mabillon, is deserving of preference. As both
were Benedictines, as well as Dunstan, they would, doubtless,
neither of them be silent on any matter which, in however small
a degree, might contribute to the glory of their revered saint.

Dunstan was descended from a family of importance ; the year
of his birth is uncertain ; Mabillon makes it 925, which is pro-
bably too late. In 988 he died Archbishop of Canterbury, after
having, under several weak monarchs, actually governed the king-
dom of England. In his youth a favourite at the court of Ethel-
stan, that he might remain faithful to what was good (according
to the expressive words of his biographer), he shunned indolence,
and employed himself in the arts of writing, and image-making
in wax, wood, bone, gold, silver, and iron, while he at the same
time played several musical instruments, and edified mankind by
his pious songs. But not a word in Osbert's account states (hat
he himself made musical instruments, although every thing is
mentioned which could conduce to the praise of a man, accor^ng
to the monkish views of the period. Forkel, however, in the
second part of his History of Music, sec. 528, mentions as a fact,
that Dunstan constructed a harp with his own hands, and there
are pictures of a later date which represent him playing with two
hands on that instrument. This harp is said to have played of
its own accord, and unassisted by human agency; wherefore
Forkel conjectures that it must have resembled the modem clock
work instruments, or have been similar to what we call an ^Eolian
harp. Osbert, on the other hand, expressly calls a cithara which
Dunstan played on, — but did not make, — a guitar of the ordinary
kind. Once, however, when Dunstan had hung it against the
wall, it began to play of itself. The bystanders heard but one
tone, while the Saint, on the contrary, alone heard a whole anti-
phonia: Gaudent in coelis aninuB sanctorum, &c. Those who
envied him made use of this occurrence to cause him to be sus-
pected of witchcraft, and the king withdrew his countenance. At
this time Dunstan was not a monk, but became so soon after he
Jeft the court. Thus we see Forkel's conjecture falls of its own
accord. Even in the most modern times has it been maintained,
or at least faithfully received, that Dunstan understood the art of
casting bells and building organs. This legend ought at least to
have its foundation in the biographies which have been incorpo-
rated into the Acta Sanctorum. At the head of these stands
Osbert, whose life of Dunstan was used by Surius as the best and
nearest to the death of the Saint; yet he mentions not a word of
the matter, which he unquestionably would have done, had not
the whole been the invention of a subsequent period. The history
of the organ-building which Dunstan undertook and completed
for the Abbey of Malmesbury during the reign of King Edgar,
probably ought to stand as follows: — Bishop Elfeg, who was
Dunstan's successor, had caused a longer, though very stout organ
to be built for the Abbey at Malmesbury, the verses on which
occasion, and which have been preserved by Mabillon, without
telling anything similar of St. Dunstan, are printed in Porkel's
History. Part II. sec. 365. A Benedictine monk of Winchester,
named Wolstan, gave, in a long poem de vita Suithuni, a descrip-
tion of this organ, which, notwithstanding its magnitude, con-
tained only ten notes. People may subsequently have confused
the somewhat similar name of Wolstan with the better known
appellation of Dunstan, and have invented the rest. Organs had
then been long known in England ; they are often mentioned in
Dunstan's frequent visions, where he is represented as having
heard them in heaven. There was plenty of opportunity for the
historian to mention that Dunstan built such an instrument, yet
not a syllable is said about the matter. In conclusion, Forkel,
in the work we have cited, thus speaks of Dunstan : ' Whether
he composed anything is totally unknown.^ We will now tell
what is known, or can be so, if the proper sources are consulted
as they ought to be. Dimstan, in his heavenly transports, often
heard the celestial host singing, learned some of their heavenly

melodies, and caused them to be written down by others and in*
troduced into the church. Among these may be reckoned the
antiphonia of the self-playing guitar ; further, the anUphonia :
O rex, gentium dominator omnium, propter sedem majestafis iua,
da nobis indulgentiam, rex Chris te, peccatorum, AUeluja ; and
especially the celestial Kyrie eleison, and Sanctus. If we may
call these heaven-descended church melodies of the angels, who
certainly did not sing in four parts, which Dunstan did not him-
self write down, but caused to be written down, his own composi-
tions, then unquestionably did St. Dunstan compose. However,
in the whole biography there is not a sing^le expression which
hints at any other kind of music, than what was at that time
common. Looking closer, we only find it said of the two middle
antiphonise (O rex, and Kyrie), that he wrote them down, in
order that they might not be forgotten. Hence Dunstan, by the
introduction of some church antiphoniae, and by his playing mu-
sical instruments, did service to the music of his period. All else
that is said of him is fabulous.

STRADELLA AND HORTENSIA.

Real history records as many extraordinary adventures and events
as are to be found in works of fiction ; insomuch that a very enter-
taining and not uninstructive book has within the last few years
been published, under the title of The Romance of History,
wherein facts are stated which, but that their authenticity is un-
doubted, would be universally considered as the produce of the
inventive faculty. The story of the famous Venetian composer
and his innamorata has, in a disguised form, been the foundation
of more than one novel, and, if it could be told with all the cir-
cumstances which probably attended the flight, escapes, fears, and
hopes, of those lovers, would make a work of deeper interest than
most of the romances that have agitated thousands of bosoms and
attained the highest celebrity.

The narrative of the adventures of Stradella and Hortensia is
here given from Sir John Hawkins's History, who took it from the
Histoire de la Musique, by Bourdelot (i. 41). Hawkins, though
not an elegant writer, was a very industrious antiquary, and is a
most authentic historian ; we have therefore inserted the account
without even a verbal alteration, and with the notes, as inserted
in the fourth volume of his most valuable work.

Alessandro Stradella, one of the greatest Italian musicians in
his time, flourished about the middle of the seventeenth century ;
he was both a fine singer, and an exquisite performer on the harp,
an instniment in which he greatly delighted; over and above
which qualifications, he possessed a talent for vocal composition,
suflBcient alone to have rendered him famous to all posterity.
He was for some time composer to the opera at Venice, under an
appointment of the magistrates of that republic, and frequently
sang on the stage cantatas and other of his own compositions, ac-
companying himself on the harp.

His character as a musician was so high at Venice, that all
who were desirous of excelling in the science were solicitous to
become his pupils. Among the many whom he had the instruc-
tion of, was one, a young lady of a noole family of Rome, named
Hortensia, who, notwithstanding her illustrious descent, submitted
to hve in a criminal intimacy with a Venetian nobleman. The
frequent access of Stradella to this lady, and the many opportuni-
ties he had of being alone with her, produced in them both such
an aflfection for each other, that they agreed to go oflf together for
Rome. In consequence of this resolution, they embarked in
a very fine night, and by the favour of the wind eflfected their
escape.

Upon the discovery of the lady's flight, the Venetian had re-
course to the usual method in that country of obtaining satisfac-
tion for real or supposed injuries ; he dispatched two assassins,
with instructions to murder both Stradella and the lady, giving
them a sum of money in hand, and a promise of a larger, if they
succeeded in the attempt. Being arrived at Naples, the assassins
received intelligence that those whom they were in pursuit of were
at Rome, where the lady passed for the wife of Stradella. Open
this, they determined to execute their commission, wrote to their
employer, requesting letters of recommendation to the Venetian
ambassador at Rome, in order to secure an asylum for them to
fly to, as soon as the deed should be perpetrated.

Upon the receipt of letters for this purpose, the assassins made

THE MUSICAL LIBRARY.

the best of their way towards Rome ; and being arrived there,
they learned that, on the morrow, at five in the evening, Stradella
was to give an oratorio in the church of San Giovanni Laterano.
They failed not to be present at the performance, and had con-
certed to follow Stradella and his mistress out of the church, and,
seizing a convenient opportunity, to make the blow. The per-
formance was now begun, and these men had nothing to do but to
watch the motions of Stradella, and attend to the music, which
they had scarce begun to hear, before the suggestions of humanity
began to operate upon their minds ; they were seized with remorse,
and reflected with horror on the thought of depriving of his life
a man capable of giving to his auditors such pleasure as they had
but just then felt In short they desisted from their purpose, and
determined, instead of taking away his life, to exert their endea-
vours for the preservation of it ; they waited for his coming out of
the church, and, courteously addressing him and the lady, who
was by his side, first returned him thanks for the pleasure they
had received at hearing his music, and informed them both of the
errand they had been sent upon ; expatiating upon the irresistible
charms, which of savages had made them men, and had rendered
it impossible for them to effect their execrable purpose : and con-
cluded with their earnest advice that Stradella and the lady
should both depart from Rome the next day, themselves pro-
mising to deceive their employer, and forego the remainder part
of their reward, by making him believe that Stradella and his
lady had quitted Rome on the morning of their arrival.

Having thus escaped the malice of their enemy, the two lovers
took an immediate resolution to fly for safety to Turin, and soon
arrived there. The assassins, being returned to Venice, reported
to their employer that Stradella and Hortensia had fled from
Rome, and taken shelter in the city of Turin, a place where the
laws were very severe, and which, excepting the houses of ambas-
sadors, afforded no protection for murderers ; thay represented to
him the diflSculty of getting these two persons assassinated, and for
their own parts, notwithstanding their engagements, declined the
enterprise. This disappointment, instead of allaying, served but
to sharpen the resentment of the Venetian : he had found means
to attach to his interest the father of Hortensia, and by various
arguments to inspire him with a resolution to become the mur-
derer of his own daughter. With this old man, no less malevolent
and vindictive than himself, the Venetian associated two ruffians,
and dispatched them all three to Turin, fully inspired with a re^
solution of stabbing Stradella and the old man's daughter, where-
ever they found them. The Venetian also furnished them with
letters from M. TAbbe d*Estrades, then ambassador of France
at Venice, addressed to the Marquis of Villars, the French am-
bassador at Turin. The purport of these letters was a recom-
mendation of the bearers of them, who were therein represented
to be merchants, to the protection of the ambassador, if at any
time they should stand in need of it.

The Duchess of Savoy was at that time regent ; and she having
been informed of the arrival of Stradella and Hortensia, and the
occasion of their precipitate flight from Rome, and knowing the
vindictive temper of the Venetians, placed the lady in a convent,
and retained Stradella in her palace as her principal musician.
In a situation of such security as this seemed to be, Stradella s
fears for the safety of himself and his mistress began to abate, till
one evening, walking for the air upon the ramparts of the city, he
was set upon by the three assassins above-mentioned, thatis to
say, the father of Hortensia, and the two ruffians, who each gave
him a stab with a dagger in the breast, and immediately betook
themselves to the house of the French ambassador as to a
sanctuary.

The attack on Stradella having been made in the sight of num*
bers of people, who were walking in the same place, occasioned
an uproar in the city, which soon reached the ears of the duchess :
she ordered the gates to be shut, and diligeut search to be made for
the three assassins; and being informed that they had taken refuge
in the house of the French ambassador, she went to demand them.
The ambassador, insisting on the privileges which those of his
function claimed from the law of nations, refused to deliver them
up; he nevertheless wrote to the Abbe d'Estrades to know the
reason of the attack upon Stradella, and was informed by the
Abbe, that he had been surprised into a recommendation of the
three men by one of the most powerful of the Venetian nobility.
In the interim Stradella was cured of his wounds, and the Mar-
quis de Villars, to make short of the question about privilege,
and the rights of ambassadors^ suffered the assassins to escape.

From this time, finding himself disappointed of his revenge^
but not the least abated m his ardour to accomplish it, this im-
placable Venetian contented himself with setting spies to watch
the motions of Stradella. A year had elapsed since the cure of
his wounds ; no fresh disturbance had been given to him, and he
thought himself secure from any further attempts on his life.
The duchess-regent, who was concerned for the honour of her sex,
and the happiness of two persons who had suffered so much, and
seemed to have been born for each other, joined the hands of
Stradella and his beloved Hortensia, and they were married.
After the ceremony, Stradella and his wife having a desire to visit
the port of Genoa, went thither with a resolution to return to
Turin : the assassins, having intelligence of their departure, fol-
lowed them close at their heels. Stradella and his wife, it is true,
reached Genoa, but the morning after their arrival these three
execrable villains rushed into their chamber, and stabbed each
to the heart. The murderers had taken care to secure a bark
which lay in the port ; to this they retreated, and made their es-s
cape from justice, and were never heard of more.

Mr. Vi^anley, who in the catalogue of the Harleian manu-
scripts. No. 1272, has given a short account of Stradella, says
that the lover of this lady, whom he calls the Baroness or
Countess, was the heir of either the Cornaro or Colonna familv;
and that after the murder of Stradella, which he says was in the
year 1670, she was sent for to France by the then king ; and that
she had been heard to sing both in Italy and France by a friend
of Mr. Wanley, Mr. Berenclow, who said she was a perfect
mistress of the best manner, for which, with her, he only admired.
Cornelio Galli, and the two eunuchs Tosi and Sifacio*.

The truth of this relation is very questionable: in the above
account, taken from a French writer, Mons. Bourdelot, author of
the * Histoirede la Musique et de ses Effets,* it is said that, in
full gratification of the malice of their enemy, both Stradella and.
the lady were murdered. There was about that time a lady, but
a German, as is supposed, a fine singer, who sang in the operas
abroad, and even at London f, known by no other name than the
Baroness ; and it is not improbable that Mr. Berenclow might be
deceived into an opinion that she was the relict of Stradella.

THE NEW MUSICAL FUND CONCERT.

To the Editor of the Musical Library,

Mary-le-bone^ June 2lst.
Sir, — I have for many years past been a contributor to the New
Musical Fund, and though my chief object has been to assist a.
meritorious charity, yet, as a concert is the inducement held out
to the subscribers, they are surely entitled to one worth the
trouble of attending. Instead of which, the performance of
Friday night last was about the worst that has this season been
given anywhere, for any purpose ; and the neglect of the com-
mittee for managing the business is the less pardonable, because
the town never was so full of performers of every description, and
plenty were to be found ready to execute any music that might
nave been selected. Was it then wise, or even fair, to give what

* This Mr. Berenclow was a musician of some eminence in Queen Anne's reign,
and the son of a Dr. Bernard Martin Berenclow, of whom Mr. AYanley, in the Har-
leian Catalogue, No. 1265, p. 10, gives the following account: — < Dr. Berenclow was
born in the Duchy of Holstein, near Tonighen ; his mother was a Berchem, a
family sufficiently eminent both in the Upper and Nether Germany. lie married
Katherine, one of the daughters of Mr. Lanier, clerk of the closet to King Charles
the First. He was professor of physic in the University of Padua, and practised with
success and reputation in Italy, France, Germany, Ilulland, Flanders, and Etigland.
And, notwithstanding his frequent journeys and removals, died rich in ready money,
jewels, plate, pictures, drawings, &c., of great price and curiosity ; which his widow,
notwithstanding (by true pains-taking), made a shift to overcome, and utterly
squander away in about five years after Lis decease.'

CoRNKLio Gali.i was a native uf Lucca, and one of the gentlemen of the chapel
to Catherina, the consort of Charles II. He is said to have first introduced a fine
manner of singing into England. Vide Harleian Catalogue, No. 1264.

PiBii Francesco Tosi was an Italian by biith, but travelled much, nnd resided at
different times at most of the courts in Euroi^e. He was in England iu the several
reigns of King Jamesf, King William, and King George I. ; and was patronized by
the Earl of Peterborough. He lived to the age of fourscore ; and, besides several
elegant cantatas, was the author of a tract entitled ^ Opinioni de' Cantori Antichi e
Moderni, o sieuu Osservazioni sopra il Canto figuratu,' printed at Bologna in 1723,
which Mr. Galliard translated into English, and published in 1743.

Sifacio. The tnie name of this person is unknown: this, which he was generally
called by, was given him on occasion of his performing the part of Syphax in an
Italian 0{)era. He was in England, and a singer in the chapel of Kiog James II.,
but, returning to Italy, was assassinated.

f She perfonned the part of Laviuia in the opera of Camilla, represented at Drury
Lane Theatre in 1706, and that of Eurilla, in the Triumph of Love, at the Hay-
market, some time after^

IBft

THE MUSICAL LIBRARY.

has for years past been worn to tatters^ hat been Imwfced about
at every concert, public and private, and is become absolutely
nauseous ? I admit that Mr. O. Bull was rather a novelty, but
so ill preparod for him were the band, that the accompaniments
to his concert o— or whatever it was — ^proved a hinderanee, and
nearly spoiled his performance.

If the emptiness ef the theatre, showing how few tickets had
been sold, be pleaded in excuse for the miserable nature of the
selection, I reply, first, that the concert is principally for those
whose contribution is annual and certain ; and, secondly, that a
bad bill of fare is pretty sure to be followed Iw empty benches^

Lam, &C.

Mbrcator.

P.S. — I forgot to say that we had a new harper, a veoent im-
portation fnom France, who gave iis a piece descriptive of the-
trial, condemnation, leading to execution, and reprieve, of a
prisoner falsely accused! Half of the nolss of this gentleman
were . inaudible, and the other half were pulled out with, such
violence, that had not the strings. been as tough as halters^ they:
all have been split in twain.

CONCERTS OF ANCIENT MUSIC.

^SBVBNTH CONCERT, ATedaeicdny, the 25th of May, under the IKrection of

BarlHoire.

'Afcrl.
Oveiture ttnd.Bfsrch. (Scipio.) . • . . •

Quartet, * Chi mai dHuiqua stirila ' • . BooHomuiii i

St»rtg: Mr. Phillips, < Bacchuft, ever fair ' \ , ^ . ^ -,. , v

Choi^».'BHcchuii'ble«ng».' ' / {^'ex. Feast,)

Qlee, < WithsiKhs, MNsetroM* • . • • •

Solo, Mr. Phillip-, »nd Chonia, ' Oh ! what delight.* (^PidtHo.) •
Soup, Mrs. Shaw, « He was despised.* (Metnah.)
Hant, "Tia w«»m rix times* \ n l \

Uaroh and Chorus, /Gloiy to God.' ) (•'«•*•«•)

Aor II.

Overture and Chaeonne • • «^ • • •

Song, Mad. Malibran de Beribt, * Holy, holy.' (Redempiion.)
Madrigal (full choir). • All creatures now'
Redt., \ Mad Mahbran ( ' Beieniee, ove sei ?♦ \ / , . -»__ n
Aria. J de Beriot, V Orahra che pallida.* i V^'''*' ^"^'^ •
Trio, Mrs. Biaho^i, Mrs. Shaws aad Ma. Phillips^ and Chorus,
' Sound the loud timbrel-* • • . • •

Iklusic in Macbeth. Solo parts, Mn. Bishop and Mr. PhilUpa
Chorus, < How exceUent thy name, O Lord ! ' (^SmU.) » •

Handel.
[id Grbatobbx,

HawDSL.

Handbl.

Callcott.

Bebthotbh.

Hakobl.

Hakobu

JOMBLLI.

Handbl.
J. Bbnit.

JOXBLLI.

Atison.
M. LocxB.
Handbl.

Thb bold overture to the opera of Scipio went off in the most
spirited manner.' Not less perfect were JomeUi*s overture and
chaepniie. What is a chaeonne ? many will ask. To save them
the trouble of referring to a dictionary, we reply — ^that it is a
sAow dance, sucrh as grave and even ancient folks once joined in
without scandal; it was probably that in which the Lord- Keeper
Hatton took a part, when

' The seal and maces danced before him.*
dononcini's Round, converted into a quartet by Mr. Greatorex,
always pleases. So does * In sweetest harmony,' when sung in a
respectable manner : but now it excited emotions of a very pain-
ful kind, and by no means flattering to the performer. Mr.
PhiiUpB gave the fine Bacchanalian song from Alexander's Fetut
with an animation that Timotheus himself would have applauded,
if not silenced by jealousy. Callcott's lovely but deeply affect-
ing glee, was not effective ; the alto preponderated, and never
for » moment blended with the other voices. The scene from
FideUo was executed admirably, which was the more creditable
to the chorus, because in a style so entirely unlike that to which
they are accustomed. Mrs. Shaw sang ' He was despised ' with
much feelilig and propriety; we would, however, recommend
this interesting singer to give less force to her lower notes ; when
too loud they are aecidedfy masculine in quality. It is true that
Madame Malibran is guilty of the same fault, but imitate her
heauties, eschew her defects. Mr. Bennett in the triumphing air,
• Glory to God!' was too languishing for a soldier. He should
think'more of the composer, less of himself.

In ' Holy I holy ! ' Madame Malibran was strictly devotional,
and purer in manner than, we say with regret, is her custom of
late. Her two cadences were modest, and m character with the
air. But in Jomelli*s ckef-d'cnLvre, she who can be, when she
wills it, a singer without a superior, reached the very acm^ of
misconception and false taste. There is not to be found in the
whole range of the lyric drama a finer scena than this ; w&)ciiow

but of one at all comparable to it, the oeation, 'Alma del gran
Pompeo ! ' in HandePs Giulio Cesare ; though certainly the
effect of the former is considerably abated to those who are un-
acquainted with the story of which .it forms se essential a part.
In the first place Madame Malibfan insisted on having this per-
formed andante, instead of adagio, as the composer has marked
it* : and in the second, she so altered it by tlie mc^t preposterous
variationsT and additions, that, but for the . accompaniments, we,
who know the whole by rote, should hacdly have recognized the
composition, — a composition which, in its unadulterated state, is
the. triumph of drampitio music

The madrigal elicited an encore, a high compliment from an
audience possessing so much self gownnment. The sometimes
abused, but nevertheless charming, trio,' Sound the loud timbrel/
Was tolerably, not exceedingly, well sung. The performers had
not, we conclude, privately rehearsed it; they were not quite d'un
accord. The 'music in Macbeth' went off, in. the most perfect
manqer, as is invariably the case here. If any doubt, the apti*
tude of the English for music, before the genius of its natives, was
depressed by the. patronage bestowed on ill-qualified foreigners
by the second Charles, let them listen to, and consider well, this
mostv original and well-constructed work of Matthew Louke.

SIGIITH CONCERT, Wednewlay, the 1ft of Jtme, under the Direction of
the Barl'of* Cinder. ' '

Act!.
Overture. {Arindme,) • • • • •

Mu«io IN Tub Tempbbt • • • « «

Churuff, < Ariw, ye spirits of (he storm.'

Son;;, Mrs. Bishop, and Chorus, * Come unto these 3'elloir

Quiirtttt, < Where the b«e sucks.'

Concerto. (ATfrtf Grand,) ....

Sbng, Mrs. Shaw, ' Risponderti vorrei * .• » ,

Recit., ' Brethren and friend*' \ ^ ,. .^._ ^

Chorua,* Behold the lUtening sun' I ^^fo^^ua.) .
Recit, \ ^^ i»;.v^« J* First and chief*
Soof^, r **"• ^^^'^^P' V Sw~t bird '
Glee, < Mark*d you her eye '

• HaHnor*

• Hairoltt.

» VLuKsmu

Y SpoBPosn

• AAlfUlL.

Recit.,) w^ pksiiin. J * I* ™'"t he so» 1

Song, / ^'* «>""l»> \ i ^^j forth no mow > (Jepktkak.)
Chonis» ' No more to.* J

Act IL

Symphony inn. . • • • » , Monns^

Chorus, < Dal lieto soggiomo ' . • . • . Olucx.

Song, Mud. Malibran de Beriot, ' O Lord, have mer^' • • PanooLBU^

Chorus, ' He srut a thick.* (liraeiin Epifpti) • . • » HMmm-

Qlee, < Cold is Cadwallu'i* tongue ' . • • * • Hobblmt.

Song, Mad. Malibran de B«*riot, ' Confusa, abhandonatm • .. Back. '

Duet, Mr. Braham and Mr. Phillips * I, my dear '• r • TmammB,
awt.,* But bright Cecilia' \ ztw^-i, /^.n fT*»Mtt-

Solo and Chori^< As from the.» / («ry*«»O«fc0 f • Hmiwi.

The program and performance of this ooneertdid not agvee, i»
regard to order, but we shall notice the pieces as th^ am hsre
arranged.

We regretted not having had more of the ' music in tha Ten*
peet:* * Full fathom .five,' we missed exceedingly. The ciorM^
'Arise, ye spirits of the storm!* is not Pureell*s; to the rider •
linley we believe the credit of it is due. And * Where the baa
sucks' was composed as a song by Dr. Ame ; it was harmoniaed
as a four-voiced glee, by Jackson of Exeter. These focts ought
not to have been ovenooked in. preparing the concert J)ook*
Braham's * Deeper and deeper still' was as impressive aa<ever».
The air, ' Waft her, angels, to the skies,' is toe high for his
voice. Had this been sung, — ^aa we lonff ago recommended— as
was intended on the present occasion, with the dionis 'How dark
thy decrees' intervening^ it might have been transposed, and thus
have suited the performer's voice. But a certain place is paved
with good intentions, the poet tells us.

The aria by Leo, a fine specimen of the old Italian school^ was
a novelty, ana well executed. The chorus, in which the standing
still of the sun at the bidding of Joshua is (rather absurdly)
attempted to be depicted, went off admirably. .We are glad that
in the accompaniment to ^ Sweet bird ' the flute was restored.
It was written for this instrument by* Handel,, though generally
given to the violin. We regretted — but our regrets are in vain— »
that along bravura cadence should have been added to a sonff
which is itself something very like a cadence. The pause maricsd
by the composer, was not meant to afford an opportunity for an
intrusion of so injudicious a kind, but merely for a shaken oe, at '

* At the rehearsal of thie, Mr. Knyvett, the conductor, actnallv quitted hiacbniry,
we are told, in dis)pist at Mad« Malibran't conduct He ihould not have reenmed
it, eieept thrpreiamptQOQS linger had ritfasr MdNBittiidyOr b«an dtrired ttr m UMam^ ^

THB MUSICAL LIBRARY,

10»

the utmost, for a few notes introductory of a shake. The age of
good sense in music is coming, but not yet arrived. It receives
many checks, both from the public and the profession, but cannot
be long retarded. The exquisite glee of Spofforth would have
been all that could be wished, had one of the voices been of a
more amalgamating quality. Phillips's ' Pour forth no more ' is
a most animating performance. The splendid chorus that follows
the song was perfect.

Mozart's Symphony made more impres»on than usual on this
audience. It was executed with great spirit. Gluck's chorus is
a bagatelle, it is true, but just what it ought to be as placed in
the opera {Alceste), and pleasing everywhere. Mad. Malibran
sang the almost sublime song of Pergolesi in the most chaste
and perfect manner, — with a deep religious feeling that must
have originated in the heart, though her rough violent shakes
were thoroughly distressing. We cannot imagine anything worse.
We regretted to find it taken out of the hands of PhiUips, who
does it every possible justice, and has been the lawful possessor
of it ever since the death of Bartleman. The diorus, describing
the ' Plague of darkness,' which of its kind defies rivalry, was so
finely executed, that a call for its repetition, almost unavoidable,
followed. Horsley's fine glee was well performed, and made its
usual impression. Bach*s (Christian) aria never was a favourite
with us : it evidently was strange to Mad. Malibran ; but she is
too good a musician to feel at a loss, whatever the style of the
composition. The concluding chorus terminated the present
series of concerts most brilliantly ; and knowing how much the
highest branches of music owe to this establishment, — persuaded
that we must depend on it for the preservation of all that consti-
tutes the solid foundation of the art — we conclude in the words
of Fra Paolo, Esto PERrEXUA !

PHILHARMONIC CONCERTS.

BIQHTH CONCERT, MONDAY, JUNE 6t&

Act I.

Sinfonia, iu f (No. 8)« • • • • • Bbbtbotkn«

Aha, M. Ivanoff, * Che accenti * {Otello) . • • Rossini.

Second Caprice, Piano-Forte, Bi. Thalbucg^ First Fiaiust to the
£niperor of Austria •••.•• Thalbbso.

Recitativo e<l Aria, Miss Clara Novello, * Rests, o cara* • « Moxakt.

Overture, Let deux Joumiet • • • • • Chbrubiki.

AoT II.

Sinfonia, in a flat •••••• Mokabt.

Cantata, Mad. Malibran de Beriot, ' Tlie Depaitme from Faiadiae.'
Composed expressly for the Fhilharmonic Society, and fiist timo
of Performance • • • . . • H.R. BrsHOP.

Introdnsione e Pblaera Gnerriera, Violin, M. Ole B. Bull » Oi.b B. Buu*

Doetto, Mad. Mabbran de Beriot and M. Ivanoff, ' la nia man '
(JVoTMa) ••••••• BaixiNi.

Orerture, Lemmu •••••• BaBTiMTBXi*

Leader, Mr.LoDBR. Conductor, ]Cx.PorRB.

Frw if any enter into the merits of Beethoven's symphony in F
on a fir^ or even second hearing, but on acquaintance its ctiamui
disclose themselves; much of what had appeared odd and whim-
sical turns out to be pure originality — ^new thoughts expressed
in new phrases, only to be understood after repetition has given
clearness to the ideas, and intelligibility to the language. We
never knew this composition produce so much effect, please so
generally, as on the present occasion, especially its middle and
£ist movements, which were not interrupted, but cheered on by
continued murmurs of approbation from all parts of the room.
Let us add, too, that every merit it possesses was displayed to
the utmost advantage by the admirable manner in which it was
performed. But Mozart*s symphony, though so often heard, lost
nothing in coming after that of Beethoven; the grandeur and
deamess of its outline, its lovely melody, and bold but always
intelligible harmony, its refinement and high finish, will ever
sustain the elevated rank it has acquired, and make it welcome
wherever a band can be found to do it justice. The overture to
£es Hevac Joumees did not in performance fall off from the
symphonies. That to Leomyra was the first written to the opera,
before it had taken the name of Fidelio, and, though there are
clever points in it, is far inferior to that in e.

M. Thalberg's second performance left our opinion just as it
was afl«r the first : it exhibited the same style, the same grasp
and power of hand, the same surprising yet not idle execution;
but he gave us no opportunity to judge of his feeling or his taste —
no slow movement^ the grand test of a performer, whether instru*
mental or vocal; we were again without the means of asoertain^

ing whether the higher attributes of a great piano-forte player arc
in him proportioned to the means acquired by practice.

Musical prodigies pour into Loncoi from all quarters of Eu-
rope. The Norwegian, Ole Bull, is in some respects the most
astonishing player we ever heard. His quadruple stops arc
miraculous; he actually plays on all the strings at once, not a
chord or two, but many, producing a succession of good harmony
in four parts. His certainty in hitting extreme distances is not
less remarkable ; such an aplomb we never met with. He does
everything of the wonderful kind that Paganini did, and much
more. But his bow hand is too powerful — or, rather, he calls its
strength too much into action to please those who think that
gentleness should be as much thought of as vigour. In a word,
he often plays too strepitoso ; he rasps the strings, and conse-
quently produces a loud rough tone, instead of a rich silvery
one. Like many performers of the present day, his portamento,
or slide, is carried to a vicious extent : used sparingly, it is very
expressive, but in such excess becomes a whine ; or is like a tym*
feeling his way to a distant note. M. Ole Builds music is ad^
dressed to the many-headed monster, but not interior to the
' Witches* dance,* &c., which recently has been so much ap-
plauded. His object (not an irrational one) is to fill his purse,
and as he can only accomplish this by pleasing numbers, he
adapts his music to the multitude. But, we must add, in par*
suit of this object he has not recourse to the means which hav^
so disgraced the Italian violinist.

M. Ivanoff obtained great applause in his aria. The preju-.
dices against him as a Russian are wearing fast away, and
would have been dispelled much sooner, had he rid himself of
mustaches, which are offensive in any one, but abominable in a
civilian — a singer too. Miss Clara Novello exerted herself most
satisfactorily in Mozart's scena, as she does in whatever she un*
dertakes.

Mr. Bishop's cantata — ^the words from the 11th book of
Paradise Lost — is the %vork of a good, experienced musician ;
the words are set with feeling, with a due regard to the context,
and the instrumentation is clever. The whole is sombre, which,
the subject considered, was almost unavoidable. If it does not
abound in new thoughts, it at least exhibits no wilful plagiarisms.
Though we cannot mention this in very encomiastic terms, we
may safely say that it is creditable to the English school of
music. Mad. Malibran took pains with this composition, and
certainly rendered it every e^istance in her power. In her duet
with Ivanoff she felt more at home, and indulged fteely her pro-
pensity for skips, arpeggios, &c.

THE CATCHCLUB.

This society, highly distinguished by its beneficial effect on tlie
most delightful of arts, by the charms of its meetings, the rank
of its members, and a long duration of nearly eighty years— to
whose tbstering care we are indebted for the only native apeeiee
of music that our country can boast — gives annually a pre*
mium for the be^ glee, Umiting competition to the membera of
the club. On the 2^1 st of last montn, the premium for the pre«
sent year was awarded. There were six competitors — Mr. Lodge,
a subscribing member, and Messrs. Horsley, Elliot, T. Cooke,
Hawes, and Walmisley, professional members — ^though of course
the names of the candidates remained unknown till the decision
by ballot had taken place.

After the usual trials, the number of glees was, according to
custom, reduced to two ; these were then sung once more, and^
by a final ballot, choice was made of a composition which, on
opening the letters, proved to be by Mr. Lodge, a gentleman \s^
fore well known as the author of many very charming productions,
proving him, though a dilettante, to be a master in the art Mr«
T. Cooke was his immediate rival.

Mr. Lodge's glee, which we are t4)ld is marked by originality,
taste, and technical ability, is set to the following twelve lines of
Spenser's eighty-first sonnet : —

Fayre is my love, when her fayre golden haires

With the loose wynd ye waving chance to marke;
Fayre, when the rose in her red cheekes appears,

Or in her eyes the fyre of love does sparke :
Fayre when her brest, like a rich laden barke.

With ffold and orient gems she forth did lav;
Fayre, when that cloud of pryde which oft doth daric

Her goodly light, with smiles she drives away ;

104

THE MUSICAL LIBRARY.

But fayre8t she when so she doth display
The gate with pearles and rubys richly disht,

T^irougli which her words so wise do make their way,
To bear the message of her gentle spright.

ROYAL SOCIETY OP MUSICIANS.

For the benefit of this society. The Messiah %vas performed at
the Hanover Square Rooms, on Wednesday, June 8th; and as
it has long been given for the same purpose one week after the
Ancient Concerts are over, it may be considered as supplemen-
tary to those: it is under the same patronage, and the orchestra
is filled by precisely the same individuals. For many years the
additional accompaniments made by Mozart were interdicted,
but latterly the honest prejudices which forbade their use have
died away, and this great work is now here performed annually,
in a manner that defies competition, so far as relates to accuracy
ipid delicacy of execution. That large vocal masses give greater
effect to the choruses than can be drawn from a comparatively
small number of voices, is undeniable; hence The Messiah is,
as a whole, heard to more advantage at our provincial meetings,
as now ordered, and in Exeter Hall, than in the Hanover Square
Rooms. But such masses are collected with difficulty, and at a
greater risk than a charitable institution thinks it prudent to
encounter.

The Queen, with all her attendants, honoured the performance
by her presence, and the room was quite as full as convenience
would allow.

EISTEDDVOD AND CAMBRIAN CONCERT.

This is an annual assemblage of the leading persons in the prin-
cipality of Wales, especially those who are members of the Cym-
mrodorion, or Cambrian Institution for the cultivation of the
Welsh language, poetry, and music. The meeting took place in
Fireemasons' Hall, on Tuesday morning, May 31st, the Right
Hon. Charles W. W. Wynn acting as president. The perform-
ance consisted of several Welsh airs, and among them many songs
of considerable antiquity, sung by Mrs. Bishop, Miss C. Novello,
Miss Hawes, Mr. Parry, jun., Mr, Horncastle, &c. To these
were added some of the popular compositions of the day. Afler-
wards was introduced what is denominated PennilUon singing,
or airs sung to the Welsh harp, the ftnger being obliged to follow
the harper, who may change the time at pleasure, and even run
into variations, while his coadjutor must keep exact time with
him, and adapt his verse and air accordingly. This was much
relished by the Cambrians, though for want of skill we could not
appreciate it. Mr. Parry, senior, took the active part in this
curious performance.

. The chairman then addressed the meeting on the objects of the
society, and read the secretary's report. A prize medal for the
best elegy in Welsh on the death of the great antiquary. Dr.
Owen Pughe, was then bestowed on the Kev. John Jones of
Oxford, who addressed the company, and gave some curious and
interesting information respecting the high antiquity of the Welsh
language. The thanks of the meeting to the chairman concluded
the business of the day.

BENEFIT CONCERTS.

Mr. Salaman's, King's Concert Rooms, Hanover Square, Wed-
nesday Evening, March 16th.

Mr. Salaman played a concerto by Mozart in c, and a Fanfaine
Militaire by Pixis, in a brilliant manner. His orchestra was
well filled, and some instrumental music of the great masters was
well executed.

^R, H. J. Banister's King's Concert Rooms, Hanover Square,
Tuesday Evening, April 5th.

This was what is called a quartet concert, though there were
performers enough to give Mendelssohn's otet in k flat in a very
perfect manner. We hardly need say that Mr. Banister took the
violoncello part in every instrumental piece, and we have before

?»oken in high but not exaggerated terms of his skill and taste,
he concert was a most agreeable one; as, indeed, quartet con-
certs generally are.

Mr.. Sale's, King's Concert Rooms, Hanover Square, Friday
Morning, April ^9th.

Mr. Sale always collects at his concert whatever talent is to be
procured, and, aided by the presence of his patronesses, the
Duchess of Kent and Frincess Victoria, never fails to fill the
room. On no occasion has it been more crowded than on the
present, and the selection — a well mixed one — met with general
approbation; a weak air by Donizetti, and a new cantata, for
several voices, by Mr. Balfe, were the only pieces that might
have been omitted without exciting much regret.

Madame Caradori Allan's, Great Room, King's Tlieatre,
Wednesday Morning, May 4th.

Madame Cakadori's professional talent and personal character
secure to her an overflowing audience, of a high order, and she
acts most liberally in engaging every performer of distinction that
is to be procured. Mesdames Grisi and Malibran, Mrs. Bishop,
and Miss Masson, Signori Rubini, Ivanofl^, Lablache, Tamburini,
and Mr. Balfe, co-operated with her in the vocal department.
Mr. Moscheles played an extempore fantasia, M. de Beriot a solo
on the violin, Messrs. Nicholson and Willman a duet, and Sig.
Liverani a fantaisie on the clarinet. The latter is new to this
country, and a very good performer, whose forte seems to be ex-
pression ; but his tone is not equal to that of our yet unrivalled
Willman.

Mr. Mori's, in the Opera House, Friday Evening, May 6th.
Such was the demand for tickets to this concert, that Mr. Mori
found it necessary to give it in the theatre, every box in which, as
well as the pit, he completely filled. Of course he was supported
by the whole corps de F Opera, to which he added Madame
Caradori, Mr. Braham, Mr. Phillips, Mr Balfe, &c. &c. Mad.
Dulcken played Weber's Concert- Stiick, M. Herz a fantasia,
and Mr. Mori a concerto by Molique. The orchestra, on the
stage, included nearly every instrumental performer of eminence
in London ; and the whole was one of the most brilliant assem-
blages that this season has produced.

Mr. Moschexes', Concert Room, King's Theatre, Wednesday
Morning, May 11th.

Not, only the room, but every vacant part of the orchestra, was
filled by most elegant company, who had every reason to be sa-
tisfied with the bill of fare. Mr. Moscheles produced a new
concerto pathetique, a beautiful and masterly composition, which
he performed in a manner that (Cramer having retired) none we
have yet heard can rival. He also played a manuscript concerto
by Sebastian Bach, with some orchestral accompaniments added
by Mr. Moscheles for the present occasion. This is in three
movements ; the first and last in d minor, the second, an adagio,
in G minor. That whatever proceeded from the pen of the cele-
brated contemporary of Handel must possess a certain degree of
superiority, it is needless to urge ; but the most striking feature ia
the work is its style, which is conjparatively and surprisingly mo-
dern, much resembling that which seemed to have had its origin
half a century after Bach's decease. But the minor key is too
prevailing, and the want of relief is strongly felt, though there are
many fine points in the concerto, and, doubtless, some that are
not developed at a first hearing. To Mr. Moscheles the musical
world are much indebted for the resuscitation of so curious a work,
which we shall be glad to hear again, and be enabled better to
understand the author's design, and his manner of working it
out.

Mr. Moscheles engaged the assistance of Mad. Malibran,
MM. Lablache, Parry, jun., Beriot, &c. ; and M. Sudre (of whona
we have spoken at large in vol. ii.) gave very satisfactory proofs of
the capability of his ' universal musical language,' much to the
astonishment and entertainment of the audience.

Mrs. Anderson's, King's Concert Rooms, Hanover Square,
Friday Morning, May 13th.

This highly respected and accomplished lady always assembles a
most fashionable auditory, which was so numerous on the preseat
occasion that we could not advance further than the door-
way, where, however, we contrived to hear her perform in a
most correct and brilliant manner the first movement of a coa*

THE MUSICAL LIBRARY.

105

certo'by Hummel, and Beethoven's Descriptive Fantasia. She
also played some variations by Czemy — a sacrifice to bad taste
that must, we presume, occasionally be made — ^but which, having
before heard, we did not listen to a second time. Madame Mali-
bran sang twice, and Mrs. Bishop gave a new song by Bishop.
M. de Beriot played a solo ; and a young debutante^ Miss C.
Richardson, excited a very lively interest by her performance on
the harp. Miss M. B. Hawes, in • Return, O God of Hosts !'
strengthened the good opinion we had already formed of her
talents. Mr. Parry, jun. gave Haydn's ' Sympathy' most charm-
ingly ; and M. Ivanoff sang ' Vivi tu' for about the two-hun-
dred-and-fiftieth time.

The Duchess of Kent and the Princess Victoria, with their
suite, never have failed to attend Mrs. Anderson's concert, and
were not absent on the present occasion ; but on account of the
Queen's ball in the evening, could only stay during the first act.

M. Thalberg's, Concert Room, King's Theatre, Saturday
Morning, May 21st.

M. Thalberg is premier pianiste to the Emperor of Austria.
His reputation is deservedly great : this, and very high letters of
introduction which he brought with him, secured a full room.
He repeated the fantasia which he had played at the sixth Phil-
harmonic Concert (see page 93), and gave also his second
Caprice^ of M'hich we have spoken in our account of the last
Philharmonic Concert (page 103). Having already entered
somewhat at length into such of the merits of this performer as
he has hitherto allowed us to judge of, we have only here to add
our wish that he would permit himself to be heard in something
of a more regular and sterling kind than a fantasia or a capriccio,
in neither of which a great composer or a really fine performer
has a full opportunity of developing all his powers.

Mrs. Alfred Shaw*s, Willis's Rooms, Tuesday Morning, May

24th.

Mrs. Shaw (formerly Miss Postans) charmed a well filled room
by her rich voice and excellent style, but not by the music she
selected to sing, which required all her support to render it
palatable. Among the performers were Madame Maiibran,
Herr (i. e. Mr.) Kroff, — who sang Schubert's canzonet, ' Der
Wanderer,' most impressively, — Mr. Parry, jun., and Signer
Ivanoff. The latter, of course, gave * Vivi tu.' Mr. Mori, Mr.
C. Cooke, and Mr. T. Wright, played fantasias on their respec-
tive instruments — the violi.i, oboe, and harp ; and the whole
went off with much applause.

Mrs. H. R. Bishop's, King's Concert Rooms, Hanover Scjuare,
Friday Morning, May 27th.

Mrs. Bishop had a full bill of fare, and a full room. She sang
an interesting song by Schubert, ' The Swiss peasant on the rock,'
and the charming Scotish ballad, ^Joe Anderson,' which she
rendered more than usually delightful. To these she added
Spohr s ' Rose, softly blooming,' and took an active part in some
concerted pieces. Among the many she called to her aid were
Madame Maiibran, Mr. Phillips, Signer Ivanoff, (who did not
sing *Vivi tu ' !) Mr. Parry, jun., Mr. Machin, with M. de
Beriot, &c. &c. and a complete band.

Mr. Parry's, jun., King*s Concert Rooms, Hanover Square,
Tuesday Mprning, June 4th.

An excellent selection, well performed. Mr. Parry filled his
orchestra with the best artists, and, consequently, the room with

Sod company. Mad. Mahbran, Mrs. Knyvett, Mrs. Bishop,
r. Braham, Signer Ivanoff, Mr. Balfe, and a long list of
vocalists, together with Mrs. Anderson, Signer Puzzi, Mr. Bla-
grove, as solo players, formed part of the host of performers who
attended. Mrs. Anderson displayed to advantage one of Broad-
wood's new patent instruments, and Mr. Parry, jun., accompanied
himself on the harp in Lord Burghersh's sweet ballad, * Bende-
meer s stream.' Mr. Braham, — not often heard now in concerts
— sang a song that never tires, * Gentle airs,' very delightfully ;
and Madame Maiibran in Mozart*s * Non piu di fieri,' operated
like a charm, as she always does when she sings such music in so
appropriate a manner.

M. Beorez's^ Concert Room, King's Theatre, Wednesday

Morning, June 8th.
All the principal foreign vocalists now in London, except Signer
Rubini, and some of our best English singers, assisted at this
concert. Mr. Moscheles, Mr. Mori, and Signer Puzzi displayed
their talents in their several departments ; and the boy Giulio
Regondi played a fantasia in a very clever manner, on that
worst of concert-room instruments, the guitar. Some pieces from
Meyerbeer's Hugonots were well executed; but the benefidare
was, by a cold, prevented from singing.

M. DE Beriot's, Concert Room, King's Theatre, Thursday Morn-
ing, June 9th.

M. DE Beriot had the good fortune to fill this large room, in every
part, %vith guinea tickets ! The attraction was, partly, Madame
de Beriot and Madame Grisi in a duet, which they sang a mer'
veille ; but it was from Mercadante's Andronico ! Such is their
taste ; or, rather, such is the opinion they entertain of English
taste. Of course Mad. Maiibran was often heard during the
morning. Mad. Grisi sang in a most superior style a very in-
ferior aria by Marliani. M. de Beriot performed a new concerto
Jn an unequalled manner, but the music was not quite worthy of
the performance. M. Thalberg again gave his fantasia; and
Miss Bisset played one on the harp. Foreigners have plenty of
reason to chuckle at our gullibility : where but in England would
they find seven or eight hundred persons to give a guinea for a
concert ? a concert, too, in which five-sixths of the pieces had
been heard to weariness, and half of them were utterly con*
teraptible !

Mr. Cipriani Potter s. King's Concert Rooms, Hanover Square;,
Monday Morning, June 13th.

The concert opened with a new orchestral work by Mr. Potter,
an overture to Shakspeare's Anthony and Cleopatra, This is
meant to describe generally the principal incidents of the drama,
and the attempt has not been an unsuccessful one. As a com-
position it adds another to the many proofs already given of the,
author s knowledge of the characters and capabilities of instru-
ments, of the means of producing the best eflfect from them in
combination, and of his consummate skill in score-writing. But
such works must be heard more than once before they can be
thoroughly understood, and we hope next season to have an op«
portunity of confirming the good opinion which we are inclined
to entertain of the present overture. Mr. Potter's unpublished
sestetto was admirably executed by himself and the five best
performers on their several instruments in Europe. He also
played the concerto of Beethoven in c; and, with Mr. Moscheles,
the duet for two piano-fortes, by the latter, entitled * Homage to
Handel.* M. Kroff sang with great feeling an air from Spohr's
Faust ; and, by way of contrast we suppose. Mad. Mahbran gave
the aria from La Sonnambula, which she and Mad. Grisi have
sung till the ear loathes the very name of it. The room was full
of elegant company.

Madame Fiupowicz's, at Willis's Rooms, Friday mornings

June 17th.

This very clever Polish lady must have been gratified to find
herself so well patronized by a distinguished portion of the public.
She played (on the violin, need we say ?) a graceful concertino
by Rovelli, most correctly and delightfully: also a duet with
Mr. Lucas, and some variations by Mayseder, She was sup-
ported by Mad. Maiibran, Sig. Lablache, Mr. Balfe, Sig. Ivanoff,
&c., and Messrs. Sedlatzek and G. Cooke performed solos on the
flute and oboe.

REVIEW.

An Evknino Servicb, and a Hundred Antiphonal Chants, with
Remarksy &c., by the Rev. W. H. Havbroal, M.A. (Payne and
Hopkins.)

Of all accomplisliments, using the term in the sense of ornamental
knowledge, none so well becomes a clergyman as music ; and as an
amusement, none is so entirely suited to the members of the sacred pro-
fession. If history is to be relied on, the first use to which music was
applied was in the offices of religion ; and when that improvement in
the plan of education, which cannot be much longer retarded, shall taker

T«£ MUSICAL LiBRARYv

pIliQiiv'— 4^1)^ th^e miem of mufijc is timpltfied #Dd heed from the per-
plexities that now deter so many from studying it, — which must soon
hBppen,*^our conviction is, that the art will become an almost necessary
part of clerical education.

The author of the work before us is a proof that a very deep know-
]^ge of music is not incompatible with that learning now required in
him who aspires to holy orders, or with those studies which, if a con-
scientious man, form part of his duty. The Evening Service, — a Can"
UUe Dommo, and De\u MiserecUur, —which occupy half the pages of
this volume, are compositions that would do credit to any name in the
musical history of our protestant church ; it exhibits as much of what
is called science as good sens^ permits, very superior taste, and the
greatest judgment in setting the words, both as regards expression and
4u;bentuation. If this service be not speedily received into our cathe-
•drals, it will lead to a suspicion that those establishments are governed
Ijf persons incompetent, from prejudk;e or want of discernment, to dis-
charge their duties.

Of Mr. Havergal's hundred chants, some are very good, and all are,
in every way, correct. To compose a really new chant is indeed a
difficult task, for, as the late Dr. Beckwith of Norwich said, * the notes
(of a chant) are too few, and those few are narrowed by beginnings and
endings.' But we must here observe that Mr. Havergal has not
e)Aictly understood Rousseau's remark ; by le chant, the French writer
means * song, melody,' not what we denominate * a chant'

T1)e preface to this work is not the least valuable part of it ; every
•clergyman and organist ought to read it attentively : indeed it is gene-
lially interesting. In this is the following history, new to us and
curious, of the origin of the double chant : —

/The writer of these remarks (says Mr. Uavergal) has been informed
that the origin of double chants was somewhat accidental. It is stated
that an apprentice of Mr.Uine of Gloucester* was one day playing the
chant in time of Divine Service, and either from caprice or carelessness
struck into another chant in the same key. This circumstance gave rise
to the short-lived custom of linking two single chants together ; whence
the regular composition of double chants naturally followed.'

The profits arising from the subscriptions to this volume are to be
applied to the purchase of a church-clock for the parish of which the
author is rector.

Music for the Organ, by Samu£L Sebastian Wesley. No. 1.
(Coventry and HoUier).

This consists of an introduction and fugue in c sharp minor, written for
«fi^ organ having pedals; or, if played on the piano-forte, a third hand
'-may.take the low notes. Mr. S. S. Wesley has, of course, published the
•tpTQsent work with a view to fame, not to profit. The one he is secure
of obtaining, for his composition is not only of the most elaborate, but
of the most masterly kind — a composition that at once entitles him to
the highest rank in a particular school, the school of Sebastian Bach,
Marpwg, Albrechtsberger, &c. His recondite work, however, will, we
ftair, get into few hands, for very few will attempt to conquer the diffi-
oulties of many kinds with which it is bristled. Nevertheless, profes-
liDDal organists ought to overcome every obstacle it presents, and others
will find it a useful study, one that will repay in various ways the time
and trouble it will inevitably cost most who seriously determine to
subdue it*

Quartet, for Piano-Forte, Violin, Viola, and Violoncello. Cow-
poj^(f 6y John Lodge, Esq. (Hawes.)

This quartet and Mr. Havergal's service are in themselves sufficient to
prove the advance making by music in England. We do not believe
that any other part of Europe could in the present day show two recent
works by amateur composers at all to be compared with these, — works
whrah professors of the first order might be proud to own. They are
not, however, the only compositions of late date that we could adduce
aa evidence of the progress making by the art, among those who are
actuated by no motive but a love of it ; the names of others, and of
fank too, who have equally distinguished themselves within the last few
years, will immediately occur to those who have honoured our pages by
tiieir attention.

Mr. Lodge's present publication may be considered as exhibiting a
misture of two schools, the German and Italian, in whidi the former
predominates. We are aware that Italy cannot bow be said to have
any school of instrumental music, it is to Italian melody that our remark
applies. His subjects lead us to conclude that he has acquired on the
other side the Alps some liking for the airs of modem opera, but his
mode of treating them is a proof that his solid attachment is to the
harmony of Germany. The quartet consists of a short Largo in a
minor; a brilliant Allegro in a major, the motivo of which is remarkably
malodious ; an expressive Andantino in a minor ; a spirited, excellent
Minuet in p, the Trio in c ; and an animated, elegant Finale in a, upcm
two most pleasing subjects, managed with great skill, and keeping at-
tention alive to the last bar. There is much originality in the whole of

* Hine, a pupil of Jeremiah Clark, became organist of Gloucester about tlie year
1714. He was bom in 1687, and diei in 1730.

this'ivotk; wilhdttt aHy AppeAmmfe of its being; ^he ¥esiilt dT a iialMt
struggle to attain it ; every part seems to have flowed apoBtaineoiialy
from the author's pen, indicating that it was struck off at a heat, diatthe
design waa complete in the composer's mind before he committed a note
to paper. Such, indeed, will be found to be generally the case in works
of genius, and that the present comes under this description we have no
hesitation in asserting most unequivocally. We shall only add, that the
piano-forte part requires an able performer : the three other parts are
quite devoid of all difficulty, and may without fear be undertaken by any
aniatettr performers.

1. Air, • On Dark Vrocennes.' — The Death of the Duxa D'Enohieh ;
written by W. H. Bellamy, Esq. Composed by John Thovson.
(Cramer and Co.)

2. SoNO, * Did I possess the magic Art ;' the poetry by Roqkrs. Cam'
posed 6y S* S» Wesley. (Mori and Lavenu.)

3. Song, * There be none of Beauty's Daughter ;' the poetry by Lord
Byron. Composed and published as the preceding,

4. SoNNsr to Sleep ; written by G. T. Montague. Ccmpoted by John*
Abel. (Cramer and Co.)

No. 1 is a beautifully pathetic composition, such as the aufaject de«
manded, and what was to be expected from Mr. Thomson's clasaic pen«

The composer of No. 2 should have given us the real title of Mr.
Rogers's beautiful verses, which is, ' On a Tear.' He might as well,
also, have afforded us one word to indicate the movement, which
we presume is meant to be andante, Mr. S. S. Wesley has done
justice to the words; indeed there are many striking points in this
which show genius as well as musical knowledge.

No. 8 is clever, but more elaborate than pleasing. Can it be eK-*
pected that a song which is partly in the key of G,eigl^ sharps, will have
any sale ?

No. 4 is a charming and a masterly composition, but written, we
conclude, more for reputation than pecuniary profit. To those, how-
ever, who admire scientific songs, we recommend not only this, but all in
the above list.

PORTRAIT OF BEETHOVEN.

Most of the portraits of this great composer are said to he either carioa-'
tures or very unfavourable likenesses : all that we have hitherto poft^
sessed exhibit him under a forbidding aspect, and one gives him a
countenance of downriglit ferocity. Mr. Stumpff, the well known mar*
nufacturer of harps, who was acquainted with Beethoven, and besides
being an enthusiastic admirer of his works, had much personal regard
for lum — ^feeling somewhat indignant that no faithful resemblance of so
great a man should yet have appeared, has at his own cost published a
lithographed print of the illustrious composer, from a portrait by Stieler,
and which, we are told by those who knew Beethoven well, is a spirited
and most exact likeness. He is drawn in a thinking posture, witb
paper in one hand and a pen in the other, and appears to be in the act
of writing his great Mass. At the bottom of the print are some enco-
miastic verses, written by Mr. Stumpff, which show a warmth of feeling
and a zeal in the cause of genius highly honourable to him, both as a
friend and aa a lover of the art with which he is so closely coonected.-

FOREIGN MUSICAL REPORT.

VIENNA.

Mad. Schrt(der-Devrient has closed her performances at the Hofop*
fern Theater with the parts of Donna Anna in Don Juan^ and Romeo
in Manteedd. How could a lady of such exquisite taste endure a con-
nexion of Mozart with Donixetti ? However, people were pleased, and
it is a sign of the timea.

On the 23rd of February we had the pleasure of hearing Madame
Friednchs, i^ London, play the haip at the fiofoplern Theater. Sbe
displayed all tiie eaeeution and eapreasion which this inatnnnent »
capable of producing, and the general applause of ottr public pcofee
that there isbut one opinion in all the towns whieh she visits.

On the 28lh of February, this society gave a third concert It
opened with a classical composition, Mozart's symphony in o, most ex-

Sressiveiy played. Madlie. Kdnig sung an ana by Rossini. la
i. Carl Hafner, a pupil of MM. Mayseder and Jansa, we rejoiced to
find a young and talented violinist. Our Conservatorium, and its ex-
cellent professors, are bringing many promising germs to maturity. A
hymn by Schubert, and a chorus by Bernhard Klein, are good compo-
sitions, and were executed as they deserved.

We had three concerts on the 6th of March. One was given by
Madlie. Fanny Schmidt. This lady charmed eye, ear, and sou). She
played the first movement of a concerto by Hummel, and variations by

THE MUSICAL LIBRAKY.

l47

; Utta gttflft lif M affile. Nina Onftocfi n
ibe Mwiea) UnioiKjialh She appe«red ia ibe capaeilim of pianitt and
ipwalisl. Aa a uianitl At ia weU Jcnowiu and gave fiiithar i>n»ef» (yf
lier abltitf oa thia oeoaaion ia a coMerlo hj BfoadhrtM* aad a Ytny
4i^cult cafNriceio bv Tbalberg. Consklcniig' ker at a aisfar* wa hara
iMud maoh leaa wiU and expreaakm« M. Biebliom gave tka tbiid
coiioert« and j^yed on Iha violin^ in the atyle in wUeh people noaMir
days uaually do play.

At the Hofopfern Theater we at laat heard the opera ao nneh spoken
«f, and bepraiaed In all the Firench papers, Haleyy'a Jewess {La
Juive), We suspect the French rather saw than heard this opera, and
allowed their ears to be bribed by the gratificatiott ctferad to thcfir eyea.

The directors of the Hofopfern Theater alTorded as the pleasure of
hearing Gluck's classical opera, Ifhigenia m Tanms. Mad. Milder
appeared aa Iphigenia, Her voice waa very powerful, and auited to the
atyle of the composition.

M. Saphir gave a musico-deelamatory concert on the 21st of March.
What we have to do with (via., the mnsical part), waa the leaat, and
also the least striking. Moaart'a overture to Zauberflote^ played on
three pianos, by six artists, with twelve clever hands, went off prettily
enough, but we prefer such compositions when played by an entire
orchestra. Thai the Levy family played a concerto, in which the skill
of the young pianist, the grace of the little harp player, and the feeling
displayed by the leaat boy on the horn, drew down general admiration.

The yearly Academia, for the benefit of the St. Marx Institution,
took place on the 25th of March. The pieoea performed were: —
1. A aymphony by Beethoven, and of course a master-piece. 2. A
fimtasia for the violoncello, played by Borzafra. This young man is
ever giving new proofs of his progress. 8. Hdlhhjah, a chorus by
M. Seyfried, in a correct style, and produced an imposing effect.
4. A piano concerto, by Herz, played by M. Rabel. We found in him
a skilful pianist: such people occasionally come to light in our musical
city. 5. The noble duet from the CrecUioth sung* by Mad. Kraus-
Wranitzky and M. Standigl. 6. MM. Binesch and Proch played
variations for two violins, and raised all hearere to enthusiasm. T. The
second part was occupied by Beethoven's noble oratorio, The Mount
of Olives,

We have passed over one series of mnsical incidents, because we
thought them worthy of an especial notice, and we therefore now in-
tend to treat of them : we allude to our

Concerts SpirUuels*

I. (18th February). This opened with Beethoven'^ overture in o,
which is but seldom played, and was, as is well known, originally a
disjointed work ; it is of a lively, abrupt character, yet still bearing the
stamp of its very original and enlightened composer. It was followed
by an excellent double fugue, for chorus and orchestra, from Worzis-
check*8 M S. remains, a work well calculated to make us feel the loss of
one who departed too soon. The next piece, one looked for with the
l^eatest anxiety, was Lnchner's Sinfonia passionatat in c minor.
Lachner is, unquestionably, one of the symphony composers of the day.
The concert concluded witli a Coronation Anthem of our ancient master,
Handel, in his old magnificent style, the trumpet parts of which gave our
present artists something to do.

II. (25th February). Here we had Beethoven's symphony in d.
Then came Handel's Funeral Antliem, one of its composer's sublimest
conceptions, which serves to show by what simple means the greatest
effects may be produced. M. Bochlet played Mozart's piano-conoerto
in c minor (composed 1786). This was doubtless a kind of terra in*-
eognita to an audience of our day, but the truly beautiful is uninjured
by time. This concert ended well with a magnificent fugue from Michael
Haydn's Litany.

in. (Srd March.) On this occasion we heard, for the first time, Lind*
paintner's MS. overture in b, composed in 1885, for the opening of the
Grand Thuringian Musical Festival at Halle ; it ia very brilliant,
animated, and even lavish in instrumental effects, and ia also elaborated
with great correctness, its only fault being, that it is too much span out
for the general effect. We alRo had the finale to the second act of
Spohr's newest oratorio. Das HeUands leixte Siunden (the Redeemer's
last hours), which is, as is well known, an expressive composition, re-

Slete with feeling. Three movements from a toUUy unknown litany by
iozart were performed, the Tremendum^ the Viaticum, and the Pignus,
When was this work composed ? That spirit which animated his /?e-
quieniy also reigned in this. Every note is a gem ; the whole is a wreath
of glory. Spohr's fourth symphony. Die Weihe der Tone (the conse-
cration of sounds), appeared to please more than it did two years ago ; a
proof that a truly great conception cannot aiwaya . be thoroughly com-
prehended at a first hearing.

IV. (10th March). The fourth concert introduced to us Beethoven's
seventh symphony in a, which is always sure of success, especially when
played so con amore as on this occasion. An offertorium, by Michael
Haydn, In Adorationem, was played, which breathes an almost infant
piety, and contains some of the purest vocal music The most beautiful,
perhaps, of all existing concertos on the piano followed ; we mean,
Beethoven's in c minor, played by M. Henselt, a pupil of Hummel :

praise would here be soperflnoas. The whola concluded with Handel's
CoroncUion Anthem^ a venerable composition, at the hearing of which
all ought to bow with respect

V. (March 17th). We had at'this concert two symphonies, which
ware eonaidered next in rank to that by M. Laehner, to w^iich a prifee
waa awarded. The first was by M. Dobrinsky, and promises bmigId;
the second by M. Strause, a deeply conceived cempoaition, Ml of afot,
thoagh perhaps almoal too briUcmte : these symphonies weva aepamlad
by Hayda'a majestic Te Deum^ a compoaitiaB aeldoB heaid at allyand
perhapa never executed aa it shouki be.

VI. and laat. (March 34th). On this oceasia»Ladmai's«yiaphoa|r
waa repeated. M. Standigl, the pride of our dty, displayed his taleat
in Mozart's charming aria, Mentre di lascie. M. Friedlovsky almost
sang on the clarionet Spohr's elejirisc concerto ; and the whole ecM^
eluded with Beethoven's Mount of Olives,

PRAGUE.

Madame Friedrichs gave a second concert here, which waa exceediag^
well attended, and she acquired more applause than at her first, aa afae
waa better supported by the youthful orchestra of the Conservalortum
than by that of the theatre. The compositions she played too, tnmed
out better than Bochsa's, because, though English, they were built o&
better subjects.

Madame Friedrichs was followed by M. Joseph Merk, iTaatawrnMa*
sikus^ &c. at Vienna, who gave an Academia^ and afforded a convineinff
proof that it is possible to get up a concert at which none but claasind
pieces shall be performed, and with aa much success as the lovers itf
modem music think to obtain by their Bellini and Auber, their Hera,
&a An overture by Beethoven was the prologue to the evening, im
the course of which M. Merk played a concerto of his own on tha
violoncelk), an adagio by Romberg, and a rondo by Kummer, the whole
concluding with his own variations on a Tyrolese song. M. Merk waa
positively greeted with a storm of applause. The other pieces were a
grand aria from Mozart's Tito, iNon piit de*Jiari^) aung with astonish*
ing skill by Mad. Podhorsky, and a recitation very pleaaantly spoken by
Mad. Binder, though we did not much admire her choice.

In conaequence of numerous applications M. Merk gave a aeeond
concert at the theatre, whereat he played the first movement (adagio
and rondo) of a concerto, and variations on a thema by Schubert^ both
of hia own composition. These pieces did not go off so well aa those
he played at his first concert Mademoiselle Lutaer sang an aria traaa
Herold's Zampa^ accompanied by M. Pixis on the violin.

FtNT the benefit of our singer and opera manager, M. J, Pock, Bal^
lini's Piraia was revived, but less successful than any of bis operas that
have been brought out under the direction of M. SiOger; and thia beiof
hia beat work, we can only account for its failure by the manner in which
it waa got up.

Paisiello's Molinara has been brought on the tafM, and the mottvi
for choosing it is somewhat hard to fathom. Far be it ham ua to al^
tempt to depreciate the richness of melody, and high character of this
most celebrated work of Paisiello ; — still we think it stands so much op-
posed to the taste of our time, that it cannot now be successful.

MILAN.

Vaccai's new opera, Giova»ni Grey, was quite unaucceaafttl, notwith*

standing the acting of Malibran.

For the benefit of the Philharmonic pensionary, M. Schoberlecher
played variations on the piano, and was twice called for.

On the 6ih of March, the celebrated De Beriot, at Riccordi'a Aca^
demia^ enchanted all presept.

Mozart's Don Juan has been played here, and has not been sucoeas-
ful. But it could not be so. In the first place, tlie libertine waa
played by a singer some six feet high, three feet broad, named Marimii
he did not possess a spark of animation, and in the concluding beena
looked like a marble pendant hung from the arm of the atatue. Thea
Donna Elvira had no idea of her part. Donna Anna waa too high for
Mad. Schoberlechner. M. Poggi knew nothing about Don Ottamo'^
M. Marcolinidii»played no humour in Leporello; Masetto waa unworthy
of his Zerlina, who alone found an etiicient representative in Mad«
Tadolini. Many pieces were omitted ; the time was mistaken ; preatoa
became adagios, andantes prestos ; the trumpets drowned the violins,^
and the double-bases growled their discontent at the whole. Such is tha
style of performing Don Juan in Italy !

VENICE.

Madlle. linger, aa AnUnda in Donizetti's new opera of BeUsario^ waa
called for no less than six times. At the end of the opera, Ponisetti
appeared surrounded by all the performers. Tliis is reckoned his best
production ; indeed, it is said that such success has been unknown ainca
the days of Rossini's Semiramide,

NAPLES.

A new opera by Persiani, Eufemio di Messina, has been performed at
the Teatro San Carlo; the music satufit'd only the connoiaseurs, and ia
reproached with bemg destitute of pleasing melody.

J08

THE MUSICAL LIBRARY*

THE DRAMA.

Kino's Theatre.

Another month has passed away, the season is nearly over, and the new
opera, so long promised, has not yet heen produced, nor has any old one
been revived. M. Laporte relies on the forbearance — (tlie asinine pa-
tience, a well-known foreigner terms it) — of the public, and does not
rely without reason. The truth is, that the company consists of but
three — say four — good singers, and these are inadequate to the perform-
ance of many fine operas which wouldi in all probability, be preferred
. to any new one that the Italian composers of the present day could
write. So scanty a troupe has rarely been tolerated on these boards ;
one soprano and one tenor ! If Madame Grisi or Signor Rubini had
not, happily for the management, been blessed with uninterrupted
health, the opera must have closed.

On the 4th of June, Rossini's Assedio di Corinio, an alteration made
fiome years ago at Paris of his Maometio Secondo^ was performed, and
though confessedly one of his inferior works, was now felt so far to ex-
cel those to which the frequenters of the opera have of late been accus-
tomed, that even the real connoisseurs were tempted to bestow on it
their applause.

For the benefit of Sig. Lablache, (i. e. for M. Laporte's, who farms
411 the benefits) Donizetti's Marino Faliero was given on the 9th of
June« The nominal heneficiaire^ as the Doge^ was no less excellent
than heretofore, Mad. Grisi in the character of Elenay charming, and
Tamburini, as Bertucci, very good ; the rest — aye, including Rubini —
scarcely bearable. On the 1 6th M. Laporte took a benefit in his own
name, — No ! in his father's name — and as the Queen had held the last
-drawing-room of the season on that day, the theatre was crowded almost
beyond example. The opera was — / Puritani! in which Signori
Lablache and Tamburini bawled out their duet with more pulmonic
yigour than ever, and were, consequently, more than ever applauded.

Madame Puzzi, who lately returned to England, though not engaged
at the opera, hired the theatre, and had a benefit in it on the 20th ult.,
and gave Don Giovanni, in which she undertook the part of Zerlina,
we cannot add, successfully, in regard to performance, but entirely so as
Telates to profit, for every corner of the nouse was filled, so eager were
the public to hear this finest of operas. But with the exception of Mad.
Grisi as Donna Anna, Tamburini's singing, and Signor Lablache as
Leporello, (we say nothing about the unfitness of his figure,) the piece
was most cruelly treated. The orchestra certainly did its duty as well
-as was permitted, but Sig. Costa mistook the times of half the compo-
aidons ; the triple band in the masquerade scene was cut out« and the
•cenery, decorations, &c., were disgraceful.

Don Giovanni was repeated the Thursday following, when Madlle.
Assandri appeared as the coquettish country girl, and performed the
character, both with respect to singing and acting, in a manner that
raised her much in our estimation.

Drurt-Lamb Theatre.

The long-expected, loudly-heralded opera, TfieMaid of Artois, by Mr.
Baife, was produced on Friday^ the 27th of May, and thus cast : —

The MarquiM of Chateau-nevx « • * • Mr. H. Phillips.

JuUt de Mcntafffum •«••«• Mr. Trmplbton,

;Siii»« Regret, a Serjeant « • • • • Mr. Giubilbi.

Sjfnnelet (slave driver) Mr. Seouin.

Martin, the turokey •••••• Mr. Bbopokd.

Itolinet maid of Artots ••••«• Mad. Malibban.
Cora/ie, her atteadant • • • • • Miss Hkaly.

To give a detailed account of so despicable a drama would be trifling
^ith the reader's patience ; suffice it to say, that the first act is in
France, where the Marquis and Jules de Montagnon are both suitors
to Isoline, whose choice falls on the hUter; but tlie one is rich, the other
quite the reverse, and poor Jules, on his way to visit his mistress, finds
out that he has not a sous wherewith to bless himself. He meets a
stranger, tf most generous Serjeant, from whom he accepts a purse full of
the thing needed : when lo ! he speedily discovers, to his dismay, that
he is enlisted ! Isoline entreats the Marquis (now the colonel of Jules)^
to discharge her lover, but is peremptorily refused, except on condition
of her relinquishing the recruit in favour of his titled commander. After
a struggle, and to save Jules from being drafted ofiT to Guiana, she con-
sents. But the loved youth stepping in a moment after the bargain is
struck, Isoline decamps with him. They are, of course, overtaken, and,
also of course, separated. Tiie next act exhibits to us Jules in Guiana,
and to his, not to our, surprise, Isoline appears there too, disguised as a
sailor. Need we say that Jules immediately recognises her ? Need we
add that the hard heart of the turnkey who is charged to confine the
youth, is softened by a bribe, and that he lets the couple remain a few

minutes together? — that they, during this interval, find means to escap
— that, exhausted by a fatiguing flight, they are both near expiring o
the road — that the Marquis pops upon them, even in that swampy n
gion — ^becomes magnanimous on a sudden — pardons both, and, — dso
we say further — that the whole ends happily ? Happily for us it d'u
end, for our patience was worn out ; nothing but force or syncope couli
have detained us in the theatre ten minutes longer* But we shall leav
no room to speak to the chief point, the music.

We unreservedly, and without neriphrasis, say, that a single nei
musical thought was not disclosed to us in any part of the open
Aware that a positively original idea is only rationally to be expecte
now in one piece in a hundred, we are most ready to compound fo
novelty, by the manner of dressing up what is old. This may b
efiected by a change in the construction of a phrase, in the form of i
cadence, and by those contrivances in the accompaniments which occu
to those who are adroit, who possess much taste though but little rea
genius. Many things that have * oft been thought before,* adroit o
being better expressed, and a new effect given to a passage by a nen
colouring, will be gladly accepted in the absence of that originality
which daily becomes more rare. But Mr. Baife does not seem to us to
have made an efibrt to effect even a slight alteration in the outlines, oc
to repair and refresh the worn out, the faded passages, with which the
modem Italian opera has supplied him : he, in fact* so far as relates to
Tke Maid of Artois, has condescended to become one of Rossini's imi-
tators, and not one of the best#

The overture is trivial and noisy, but there is a certain degree of
prettiness in parts of it which may introduce it into boarding-schools.
The opening of the ' scena,' ^ The rosy hours,' raised in us a hope that
speedily received a check. An air, improperly called a cavatina, * My
soul, in one unbroken sigh,' has the merit of being a direct imitation of
a movement in Beethoven's ninth symphony. Would that all had been
indebted to the same master ! The finale to the first act is planned after
that in La Gazza Ladra; the composer has followed Rossini, but at
an immeasurable distance. We must, however, proceed per solium to
what is called the favourite air, ' The light of other days,' which is re*
markable as being the only piece in the English style, and the only
one, except the last, that receives an encore. Now this is easily ex-
plained — it is intelligible, and sung with great feeling by Phillips; the
accompaniment on the cornet de piston is well played, and the whole
is really pleasing, though it has no pretence whatever to the merit of
originality. The last air, d la Suisse, is one of those common yodelyn
tunes of which we thought every ear had been tired long ago; but
Isoline here so well caricatures the modem vicious style of singing,
makes it so palpably ridiculous, that the burlesque is immediately under-
stood, is relished, and never fails to be clamorously called for a second
time.

Mad. Malibran, on whom the whole weight of the opera falls, has
been exceedingly praised for her acting as well as singing. Part of the
former certainly is judicious and evinces great feeling ; but part is pro-
digiously outri. In the scene, (the first finale) where she is torn from
her lover, she is perfectly extravagant, if not absolutely vulgar.

We have heard much of the ' splendid* manner in which this opera is
got up. Not viewing things with the eves of some critics, we did not
discern any of the magnificence which bas been so loudly trumpetted
forth. And we will in conclusion add, that having patiently sat through
The Maid of Artois once, we never shall have fortitude enough to go
dirough the task a second time.

One word more, not as critics but as men of the world, and we have
done. This opera has had the most prodigious success — through the
assistance of Mad. Malibran, and by the aid of indefatigable puffing,
we admit ; but it has answered the manager's purpose : then Mr. Bunn
has managed well. If the taste of the play-going public be depraved,
he is not to be blamed ; he does not set himself up as arbiter elegan-
tiarum. And if Mr. Baife — who probably is too sensible a roan to be
ambitious of filling a niche in the temple of fame— can get eight
hundred pounds for the copyright of an opera so easily written, he com-
poses to a good purpose, and may snap his fingers at every Aristarchus
in the land. Let, however, Messrs. Baife and Bunn make their harvest
soon, such a sun will not long continue to shine on their fields, unless
they till them in a very different manner*

96 —

EBRATA.

Page S7, column 1, line 43, for Boadicea, read Bimduca*
— .. 63, dele comma after ' habits.*

3, for Oolo/kuir, read Goiofkin,
9, for T\nmg eing, read TWny tmg,
62, for Sirakatx, read S/mAo/y.
15, for Hoch, read FocA.
20, for Strahatz, read Strakatjf.
22, for Sazedi, read Jaxedi.

LONDON ! CHARLES KNIGHT & Co., 22, LUDGATE STREET.^

FaxMTBO BY Wt CLOWES anb S0NS| Dukb Stbut, Lixbkth.

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